Gargi Chandola, a New Delhi-based visual artist, explores the intersections of personal history, collective memory and inherited traditions through her distinctive artistic practice. Working across Wasli paper and large-scale murals, her work reflects a deep engagement with feminism, everyday experiences and contemporary realities.
There is a certain patience in Gargi’s practice. It reveals itself through detail, material and the slow inheritance of skill. Currently training in Pahari Miniature painting under a master artist, she continues to learn from a rich artistic lineage while extending these traditions into new spatial and emotional dimensions.
In Gargi Chandola’s universe, animals do not sit on the periphery of human life. They stare back, interrupt, challenge and occasionally mirror us. Her compositions unfold like layered conversations where tenderness sits beside discomfort and humour slips in just when the gaze begins to feel too certain.
Working primarily on Wasli, Gargi draws from miniature traditions while allowing her subjects to move through contemporary tensions. Domestic scenes, street encounters, fragments of memory and feminist undertones surface as recurring anchors. The result is a body of work that feels intimate yet politically alert, observing how care, control and coexistence constantly negotiate space within everyday life.
Beyond the canvas, Gargi co-founded Post-Art Project, expanding her practice into collaborative and experimental formats. Her work often questions accepted hierarchies, creating space for fragility, humour and resistance to coexist. Through her art, Gargi examines man–animal relationships as reflections of power, vulnerability and coexistence, weaving together personal narratives, violence, memory and the everyday.
As part of Burgoyne Original Masters, Gargi brings a thoughtful and nuanced perspective, where inherited traditions and contemporary inquiry exist in constant dialogue, inviting viewers to reconsider the relationships that shape our shared world.
Anumita Jain approaches ceramics as a quiet conversation between maker and material. A product designer and the founder of A Clay Story, her practice is rooted in the belief that true craftsmanship begins not with control, but with attention. Working with clay has taught her that every object carries the memory of the hands that shaped it, transforming everyday utility into an expression of care, patience and presence.
There is a quiet restraint in Anumita’s practice. It reveals itself through timeless forms, organic textures and an understated palette inspired by the natural world. Stepping away from the structured world of industrial design, she immersed herself fully in ceramics, allowing the wheel to become both her studio and her teacher. Over years of working with clay, she has come to understand that the material never asks to be mastered—it asks to be understood.
For Anumita, the process is one of continual dialogue. Clay shifts, responds and resists, reminding the maker that perfection is neither the goal nor the measure of success. Each subtle asymmetry, every gentle variation in texture, becomes a record of the moment when material and maker found common ground. It is within these quiet imperfections that her work finds its deepest sense of honesty.
Growing up in Bhopal, her journey towards founding A Clay Story unfolded naturally, with each step leading intuitively to the next. This same sense of fluidity shapes her creative process, where soft, malleable clay is gradually transformed into enduring ceramic forms through the permanence of fire. It is a practice that continually teaches patience, humility and the grace of letting go.
Through a language of minimalism, Anumita creates objects that invite everyday interaction rather than distant admiration. Her work celebrates the rituals that quietly shape our lives, reminding us that thoughtful design belongs not in galleries alone, but in the familiar spaces we inhabit every day.
As part of Burgoyne Original Masters, Anumita Jain brings a practice defined by quiet observation, material sensitivity and enduring simplicity—where the beauty of an object lies as much in its making as in the life it goes on to share.
"Every object carries the memory of the hands that shaped it."
"In every brushstroke lies a conversation between memory and the present."
"In every brushstroke lies a
conversation between memory
and the present."
