{"id":37691,"date":"2025-12-14T15:12:48","date_gmt":"2025-12-14T09:42:48","guid":{"rendered":"https:\/\/medialit.in\/thevoices\/?p=37691"},"modified":"2025-12-14T15:12:53","modified_gmt":"2025-12-14T09:42:53","slug":"abhivyakti-at-seven-the-festival-that-lets-emerging-independent-contemporary-artists-lead","status":"publish","type":"post","link":"https:\/\/medialit.in\/thevoices\/abhivyakti-at-seven-the-festival-that-lets-emerging-independent-contemporary-artists-lead\/","title":{"rendered":"Abhivyakti at Seven: The Festival that lets Emerging Independent Contemporary Artists Lead"},"content":{"rendered":"

The City Arts Project, Abhivyakti, is a unique art and cultural event held in Ahmedabad. Now in its seventh edition, the project brings together emerging and established artists from across India. When it was launched in 2018, the idea was to provide independent artists with a nurturing space and to feature local stories and talent through an approach-and-curate method. In subsequent editions, the founders have invited fresh concepts while providing mentorship and financial support for premieres of selected productions.<\/p>\n

Harsh Gohel, a student reporter at The Voices<\/em>, visited the exhibition this year and witnessed a broad array of cultural expressions. The festival provides audiences with an opportunity to explore various art forms, underscoring the importance of art and creativity in contemporary life.<\/p>\n

Featured below are some of the exhibits that the Team Voices visited and engaged with.<\/p>\n

Multiple Encounters<\/strong><\/h6>\n

The installation employs etching methods on zinc, ceramic, terracotta, cement, sand and water. Rooted in the artist’s daily walks through Vadodara, the work evokes the sensory experience of moving through urban spaces. It features forty to fifty etching frames supported by ceramic pillars on a terracotta surface. Each frame reflects fragmented architecture and environments, transforming the artwork into a poetic visual dialogue between textiles and memory.<\/p>\n

\"\"
‘Multiple Encounters’ by visual artist Nitin Kumar<\/figcaption><\/figure>\n
Imprints<\/strong><\/h6>\n

This artwork captivates its audience through a series of small actions\u2014a weight on the shoulder, a subtle curve in the spine, a hand that swings in uncertainty\u2014and through them asks what holds all these gestures together. Each sculpture begins as a line of bent aluminium, gradually taking on a larger form, constructed with mesh and dental plaster of Paris. The forms are intentionally distorted, not to disintegrate or challenge the body, but to reveal its expressive potential. Some parts remain light, almost skeletal, while others become dense and heavy with emotion.<\/p>\n

\"\"
‘Imprints’ by artist Adnan Kamal, based in Kerala<\/figcaption><\/figure>\n
And Joy Shall Overtake Us<\/strong><\/h6>\n

Yasha Shrivastav’s And Joy Shall Overtake Us<\/em><\/strong> suggests a narrative of powerful emotional transformation through works that present women in imaginative forms. Flowing figures, blooming flowers, celestial symbols and organic forms come together to represent desire and vitality. The vibrant images depict figures in states of contemplation, liberation and connection with their surroundings.<\/p>\n

\"\"
‘And Joy Shall Overtake Us’ by artist Yasha Shirvastav, Madhya Pradesh.<\/figcaption><\/figure>\n
Shared Flame<\/strong><\/h6>\n

This structure combines ceramic, metal, and glass in a suspended spatial arrangement, depicting the interior of a wood-fired kiln. The sculptural forms, each bearing imprints of fire and ash, are arranged within a framework of glass and wire that reflects the internal flow of the kiln. The interplay of molten glaze, metal and translucent glass textures reveals a dialogue between material resistance and transformation.<\/p>\n

\"\"
‘Shared flame’ by Khanjan Dalal, one of the founders of The Indian Ceramic Art Foundation (ICAF)<\/figcaption><\/figure>\n
Childhood Tractor<\/strong><\/h6>\n
\"\"
Vijaysinh with his artwork<\/figcaption><\/figure>\n

Vijaysinh Beniwal hails from Jogiwala, a small village in Haryana. In conversation with\u00a0The Voices<\/a>, he said his work has been largely <\/span>influenced by the functioning of society. Speaking about his artwork on display, he said, “Childhood Tractor stems from my deep connection with my village, where my childhood unfolded on unpaved roads and open fields.<\/em><\/strong>”<\/p>\n

Inspired by the simple wooden toy tractor of his childhood, his creation transforms a humble object into something monumental. Six feet wide and seven feet tall\u2014the size of an actual tractor\u2014its wooden surface is carved with fragments of lived experience: farmers, fields, lakes, streets and traces of vibrant rural life.<\/p>\n

\"\"
‘Childhood Tractor’ by Vijaysinh Beniwal<\/figcaption><\/figure>\n
Wrong Plate<\/strong><\/h6>\n

The artist created “Wrong Plate”<\/strong><\/em> as a ceramic artwork using stoneware clay. It reflects on injustice and imbalance in society. For the artist Sauvik Haldar, this idea evolved from the observation that people often acquire things that do not truly belong to them. Those who already have in abundance continue to receive more, while those in dire need receive far less or nothing at all. On display are statues of five animals, each shown with a plate of food unsuitable for them\u2014barring the fish, which, though given food appropriate to its species, also bears a message in the larger context.<\/p>\n

\"\"
‘Wrong Plate’ by Sauvik Haldar, from West Bengal<\/figcaption><\/figure>\n
Life Partner: Domestic Edition<\/strong><\/h6>\n

Saket Vishwakarma is a visual artist from Madhya Pradesh. He moulded his art piece, Life Partner: Domestic Edition<\/em>,<\/strong> using papier-m\u00e2ch\u00e9 and acrylic colours. The work explores a conceptual question: what if we marry things? The artist believes that objects are no longer just tools\u2014people tend to develop deeper relationships with them. They feel their presence, take care of them, rely on them, and, over time, these objects come to recognise them.<\/p>\n

\"\"
‘Life Partner: domestic edition’ Installation by Saket Vishwakarma<\/figcaption><\/figure>\n
TRE DAR\u0158 (Three Doors)<\/strong><\/h6>\n

The installation, titled Tre Dar\u0159<\/em>,<\/strong> reimagines the three locked doors of the artist Riya Chandwani’s childhood home\u2014symbols of security, fear, and memory. The artist transformed them into delicate translucent panels, embroidering them with locks and including Sindhi text in Urdu script.<\/p>\n

\"\"
‘Tre dar\u0159 (Three doors)’ by Mumbai-based artist Riya Chandwani<\/figcaption><\/figure>\n
Eye of The Journey<\/strong><\/h6>\n

The work, Eye of the Journey<\/em>,<\/strong> is about the terracotta architectural and cultural heritage of Murshidabad, which is facing destruction due to neglect and the after-effects of Partition. Nirmal Mondal has used these works to emphasise the conflict between an abundant past and a stark present, and has taken material for his work from the local riverbed.<\/p>\n

\"\"
‘Eye of the journey’ by Nirmal Mondal<\/figcaption><\/figure>\n
Kuch Toh Log Kahenge.. Logon Ka Kaam Hai Kehna<\/strong><\/h6>\n

Kiran Tamboskar’s work Kuch To Log Kahenge… Logon Ka Kam Hai Kehna<\/em><\/strong> turns the social critique of an average day into a sensory experience.<\/p>\n

It is a depiction of the invisible chorus of public opinion, reflecting social noise\u2014the voices that murmur, echo and overlap. The artwork uses sculpture, sound and interactive technology to create a metaphor for a living being, exploring themes of collective observation and individual response.<\/p>\n

\"\"
‘Kuch To Log Kahenge… Logon Ka Kam Hai Kehna’ installation by Kiran Tamboskar from Goa<\/figcaption><\/figure>\n

 <\/p>\n

EDITED BY: Arunima Maharshi<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The City Arts Project, Abhivyakti, is a unique art and cultural event held in Ahmedabad. Now in its seventh edition, the project brings together emerging and established artists from across India. 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