Exhibitions

Seema Kohli’s Celestial Revelations [Jun 2019 – Jan 2020]

It’s with great pleasure that MOSA presents Seema Kohli’s wonderful show “Celestial Revelations,” curated by Sushma Bahl. I’ve known Seema for many years, and her enthusiasm and complete dedication to the visual and performing arts have captured and energised me. Her unique style is an explosion of colours and forms, depicting many relevant topics and issues. No observer or spectator remains indifferent while looking at one of Seema’s works.

The paintings, sculptures, videos, photographs, and tridimensional paintings we’re presenting today are creations Seema has been working on for several years. In her work, she touches upon many philosophical topics, such as God, demigods, devotees, universal form, cosmos, yoga, and philosophy. She also depicts several great spiritual beings and presents the cosmos in ways that awaken appreciation, awe, enthusiasm, happiness, and other positive emotions. Seema engages with these subjects and themes in a real, sincere, and passionate way. In her yearning to get closer to the Truth, she carries spectators to higher levels of consciousness in a stunning visual manner that engages our eyes and hearts to their full satisfaction.

We’re extremely thankful to Seema for her dedication to make this collection and exhibit possible, and we’re very happy that she’ll inaugurate the show in MOSA Radhadesh, Belgium. We’re also most grateful to Sushma K. Bahl for curating the exhibition and for writing the main text for the beautiful catalogue we’ve published. Sushma has been MOSA’s main curator and contributor for many years now and is part of our MOSA family. Together with Archana Sapra, who has gracefully come from Delhi, Sushma has also designed and executed the layout of the exhibit.

We hope that this beautiful collection, exhibit, and catalogue will be shown in museums and other cultural centres in Belgium, Europe, and, why not?, the whole world. May all MOSA visitors in Radhadesh indulge themselves in this feast for the eyes and carry home with them impressions that will make their daily lives more fulfilling. May we all be uplifted after visiting this mesmerising show! 

Martin Gurvich

Director Museum of Sacred Art – MOSA

Resources:

हिरण्यगर्भः समवर्तताग्रे भूतस्य जातः पतिरेकासीत ।

स दाधार पृथ्वीं ध्यामुतेमां कस्मै देवायहविषा विधेम ॥

hiraṇyagarbhaḥ samavartatāgre bhūtasya jātaḥ patirekāsīta |

sa dādhāra pṛthvīṃ dhyāmutemāṃ kasmai devāyahaviṣā vidhema ||

In the beginning was the Divinity in his splendour manifested as the sole Lord of land, skies, water, space and that beneath and He upheld the earth and the heavens.

The Hiranyagarbha Rigveda Sukta RV 10:121

A fine blend of natural elements, anthropomorphic forms and divine figures, often winged and flying, appear in Seema Kohli’s seminal artworks. There are mermaids and nymphs, women and men, gods and goddesses, birds and animals, trees and flowers, lotus and fish, the sun and the moon, mandala and other metaphors, along with meandering rivers and mighty mountains featured in the celestial revelations exposition. Various hybrid forms, part human part animal, encompassing the origin and proliferation of life add to the enticing appeal of the work. The multihued visuals incorporate swarming canvases, dense drawings, fine etchings, meticulously sculpted forms, enchanting installations, performative photographs and cinematic videos. The diligently drawn celestial embodiments, reveal and conceal as the creatives on display, in diverse mediums delve into the realm of Hiranyagarbha (Sanskrit word), literal meaning golden womb or the golden embryo or golden egg. The ancient notion of universe floating in waters amidst dark empty and non-existence realm, as the ‘golden womb’ – the all-pervasive source of life – is the focus for much of Seema’s artistic practice. Inspired by philosophies and myths, the work retains its umbilical cord with divine dimensions as the central axis. The aesthetics of her art engage with beauty, vitality and sensuality within the concept of creation, decay and renewal in the cycle of life. A celebration of the female form and her energy is explored and captured in a contemplative mode, as reflected in this fairly comprehensive, vast and varied collection of about two hundred works of art.

Seedlings & Sources  

The artist painting at the age of 11 years.

The seedlings for Seema Kohli’s artistic moorings are essentially rooted in her inherited spiritual leanings and liberal upbringing. She recalls listening to stories of saint-hood and scriptures sitting in her grandfather’s lap as a child. This was her initiation into different religions and eastern philosophies, which are the prime sources and inspiration for her creative sojourns. As a young girl though, Seema was introvert and very quiet. Often lost in her dreams, she hardly communicated with her siblings and peers, and nursed a desire to pursue sainthood. Given this, the anxious parents took her to a psychiatrist who advised them to encourage her to draw and paint for self-expression. She took to painting with immense interest, and thus changed the course of her life, laying the foundations for her art track.

Having found the right route, Seema started practising drawing and painting at home while she studied philosophy for her graduation. Followed it up with a three-year diploma in applied arts. Also learnt graphics – linocuts and printmaking – as well as linear work and script writing at Bhopal and drawing/painting at Triveni in Delhi. Worked for a short stint at a commercial unit. Meanwhile got married to her childhood friend but soon things turned unsavoury and their life together did not last long, leaving her with two young kids to fend for. Standing at crossroads, and with support from her parents, Seema took the courage to reinvent herself and start painting professionally when in her early 20s. It was a struggle to start with. “I cried and smiled and painted my dreams. Made castles in the air”. And with dedication and hard work she managed to evolve her own language of images and narratives. Myths intertwined with the eternal quest for story-telling became a distinct feature of her work which helped her communicate with the world and gain self-confidence.

The deep connect with the concept of Hiranyagarbha, that she has been studying for years, touched a more personal chord with her in 1998. It was following her mother’s demise during the ritual prayers that she understood the full significance of the Yajurveda Mantra when the priest who was reciting it, explained its context and meaning. “It was a moment of awakening for me as something divine took me over completely”. The seedling of golden womb sown then has grown to become an integral part of her extensive repertoire, ever since. Her imagery can be seen to become consolidated and reassured while the colour implementation and palette also moves along the trajectory of her life from one phase to another.

The Artis with her mother at 19 years.

A disciplined person she wakes up around 4.30 at the crack of dawn. Follows a regime “as advised by my guru Swami Gita Nandji Maharaj”, starting the day with yoga and bathing. Followed by three hours of worship, chanting and meditation and then a light breakfast before proceeding to work in her studio located within her tastefully decorated home. Scriptures are her source of knowledge, most of which she has memorized by heart. No surprise hence that her artworks reveal a spiritual dialogue, layered with metaphysical connotations. Her belief and leaning towards Krishna comes from “my readings of Bhagwat Geeta which I read every morning and evening before I go to bed”. An extensive circuit of references from religious iconography, ancient mythology, philosophical principles and scriptural literature is sourced for working across different genres. Her protagonists take on divine even hybrid appearances and significance through the single most important source and trigger for her creativity remains “my life and experiences”.

Within the broad premise of Hiranyagarbha together with feminine energy, her visuals also explore themes of decay and transformation. In a dialogue of matter and memory, Kaal (time) and Maya (illusion), continuity and temporality, vulnerability and awareness, personal and public, the concept of Shakti, the divine feminine and cosmic energy, replays in diverse manifestations. A sense of harmony across faiths and coming together of yin and yang in tandem, evokes beauty and subliminally in her art.

Methods & Materials

Working on one painting at a time, the spiritually aligned artist starts by chanting “guru shukraya vighneshvayaraya namah” (I invoke the lord to come and reside in my canvas) followed by a basic coating in white to prepare the base. She then builds the imagery gradually. From working primarily in washes and drawings during the initial stages of her career, she has switched to experimentation and working with colours over the years. “I use colours to pour out on the canvas what and how I feel”. Myriad hues are layered and sprayed using brushes, besides both her hands and with free abundance. Then follows skilful smearing of gold and silver leaf for luminosity overlaid with intricate line drawings in pen and ink with some colourful brushwork as required for each composition. She works in acrylic, oil and mixed media on canvas besides watercolours or pastels on paper to build texture into her paintings. Her colourful creatives are reflective of joy and celebration of life. A marked meditative and decorative stance acclaims supremacy of feminine energy – her procreative ability, nurturing nature and sustenance supremacy. The artist routes her work through meditation and meticulous planning. The dense drawings and colourful renderings, appear to engulf the whole cosmos within its fold. “Rooted in line work”, her artistic expressions extend to include multiple applications in layers of paint and drawings, besides photographic work.

Whatever the media or scale – be it paintings or sculptures, films or performances, the dense work covering the whole surface, seems to flow with the winds. The dynamic and fresh creations across the genres or domains and beyond geographical or gender boundaries, also include collaborations, performance and experimental work. The diversity of work illustrates the artist’s ability to cope with the demands of many different modes and matter. She works in bronze, steel, wood and fibre for her sculptures and installations. Takes recourse to photography, text, painting, performance and collaborative art for her films. For two dimensional art, her preference is for large format though she also makes paintings in small sizes.

The artist working with the various medium in her home studio space, New Delhi, India.

A diligent and systematic persona, she takes care to document all her work. Enjoys working with washes which she says “is like playtime for me”. With reverence across different faiths, before beginning with any new work, she meditates. Often the borders are painted first, and then the rest of the imagery. “it helps to set the mood and allows me time to think”. Much of the work is inspired and triggered by what she reads. If something special strikes her in any text which “I might include in one of my compositions”, then she marks the section for recall. Interconnected episodes and characters drawn from Vedas and mythologies appear on her canvases as Vishnu, Shiva, Dashavtara (ten incarnations) and Digpala (a regent or guardian deity) among others. The idea of Ouroboros representing 84 lakh yonis is about the continuation of the soul in different incarnations. The fillers that appear repetitive in her work are “meditation and recitation of mantras for me”. While the icons adorn their familiar attributes as per the scriptures, the artist draws freely from her imagination, to add to the compositions.

The artist at work painting on a large canvas in her home studio space, New Delhi, India.

The inquiry into the spirited question in the series ‘Whom am I?’ evolved as the medium changed from pen and ink on paper to charcoal and then acrylic on paper. She also moved from washes on handmade paper to acrylic and oil on canvas as paper could not hold the larger sizes, “liberating me in the process and opening up the field for me to add silver and gold leaf besides colours in my work on canvas”. Her art has undergone a sea change and refinement over the years as her technique has also evolved through studio practice and experimentation. She is appreciative of her learning phase during the attachment at Triveni “under the watchful gaze of Rameshwar Broota who encouraged me to take time over each work and to experiment”. Painting directly on to the canvas or paper and filling up the whole surface, she works freehand with no recourse to scale or other measuring instruments. “Using such devices results in the work losing its spirit of innocence and emotional content” opines the artist.

The range of materials and methods in Seema Kohli’s art-scape include prints, drawings on paper in pen and charcoal, paintings in watercolours and mixed media on canvas. Her sculptures and installations including cows and other forms, appear in bronze, fibre, steel and wood. She also works in photography, serigraphy and etchings besides live and performance videos. A well-organised artist, she maintains a diary and sketchbook. Makes sure to “review the day and plan what lies ahead, before going to bed every might”. Loves what she does including painting, printmaking, filming and performing. Passionate and hardworking, she is ready to take a risk and work on multimedia installations. Willing to innovate, she manages to resolve technical issues as and when they crop up in the assembly process. However, one aspect of her work that “I do not like is packaging”, which she gets others to do and is grateful for the acceptance her work gets from people and collectors alike.

Themes & Thrust

Celestial beings, floating forms and meditating figures, mostly females; inhabit Seema’s art arc surrounded by trees, lotus flowers, moon, stars and other planetary motifs. The heavenly bodies appear to glide along with an abundance of semi-anthropomorphic forms in a cultural matrix from another sphere. The all-pervasive and self-renewable Hiranyagarbha or the golden womb is the central theme and thrust around which most of her creativity rotates. As the incessant spring that brings the universe to life, the transcendental divinity appears in numerous contemplative iconic compositions. Adorning identifiable metaphors, the portraits drawn sans their features, are marked for their grounded germination in meditative modes and myths. The proliferate figures, often seated on a lotus appear rooted in earth waters.

The artist painting on glass for her solo show Silence the Secrets Speak at Wu Wei Sanctuary, Bali.

The creations which relate to universal truths across varied faiths are reflective of the artist’s eclectic and cosmopolitan upbringing. The Goddess in her arc is the wish-fulfilling boon giving divinity, overflowing with feminine energy like the purna ghat (overflowing pot). She celebrates fecund fertility and feminine procreative ability. Entailing the germane golden egg, she is the leitmotif of life and embodiment of knowledge and nourishment. She is also Kali, a metaphor of strength in the renditions. Symbolises primal duality of good and evil, also purusha (infinite or male) and prakriti (indestructible nature or female). As kundalini (latent female energy believed to lie coiled at the base of the spine) she awakens the chakras of supreme consciousness, represented in concentric circles that overwhelm much of the painted surfaces. Life originating from seeds taking to roots and then flowering as trees connect the three realms – past, present and future, as well as the three worlds – Swarga (heavens above where devas reside), Prithvi (earth for human beings) and Patal (underworld for demons). The Punchbhuta (five natural elements – air, sky, water, fire and earth) are also recurring visuals, illustrating the artist’s engagement with nature, ecology and astronomy.  

In Silence the Secret Speaks, 2016, acrylic and links on canvas with 24ct gold and silver leaf, 853 x 305 cm.

The palette Seema builds into her art is symbolic of the thrust of its narrative and aura. Krishna emerging from darkness is suggestive of wisdom clearing darkness and ignorance. Silver leaf represents Shukra or the lord of luxuries besides purity and enlightenment. Gold used in abundance signifies Sun/ Vishnu/ Lakshmi and stands for ethereality and truth. Red signifies vitality and energy while blue represents the sky and the waters. Green stands for flora fauna and nature that run as undercurrents in much of her art; as black speaks for darkness and night. Painting in as many as dozen layers, she covers the whole surface of the base with no empty space since shunya (void or emptiness) has no place in her scheme of art and thought.

Her first body of work titled ‘The Quest’ was followed by ‘The Spirited Sprite’, then ‘Random Introspection’ moving on to the ‘Unborn’ series, and ‘The Golden Womb- Hiranyagarbha’, then the ‘Golden Womb- Who Am I?’ and finally ‘Hiranyagarbha-Kolam’. “My fascination for eternal mother seems to hold my frail hand in her firm grip as it helps me create these artworks”. Hiranyagarbha in her art scape engulfs every single thing beyond the biological construct of a fluid gender signifier. Female shakti (power) is the dominant force in much of her art. Prakriti the ultimate being, is the amalgamation of man, woman and all else in the universe. “I have tried to capture it in its entirety, strength and fragility in colours and rhythm, melody and exuberance”. The work also manifests the cycle of birth, life, death and re-birth – a profound and inescapable reality. Her films—‘Swayamsiddha-Myth, Mind and Movement’ and ‘What were you thinking anyways’ reflect the spirit of the golden womb. The lotus stems that frame some of the canvases are indicative of the umbilical cord, a symbol of progeny. Brahma born from lotus is a recurring motif that symbolises fertility across cultures and also represents Buddha. Its enmeshed ecology reminds the artist of the prenatal umbilical entanglements in abstract non-linear renderings.

Seema for whom “painting is like breathing for life”, is a more realized and satisfied person today who charts the course of her life in art as she likes. Often working in series, including Swayamsiddha (the self-realised),  Hiranyagarbha, Ouroboros, Tree of Life, and Kamdhenu (wish fulfilling divine bovine), she extends her gaze from metaphysical paradigms and ancient tales of the past to the modern world. The intricate connect between divine incarnations of goddesses and the surrounding universe are explored in Dasmahavidya (ten transcendental female deities of knowledge and cosmic energy) Matrika (mother goddesses) and Yogini (Female yogi or ascetic) series. The work reclaims feminine spirituality and sexuality while its prime thrust stays rooted around procreation, regeneration, meditation and nature. The creations originating from Hiranyagarbha find culmination in the concept of ‘The Tree of Life’. The tree in its embryonic form represents steadfastness and rootedness. Connecting the trinity of Brahma, Vishnu and Mahesh as in Hindu mythology; the intertwined dimensions of the three realms take on a cosmic form in her art as the flying figures evoke a sense of elevation onto divine consciousness.

Well-read in sacred literature especially the Vedas, Upanishads, and other ancient metaphysical texts including those on Sufism, Seema is conscious of some of the incongruities they entail including around gender discourse. Bhagwat Geeta she believes “was written during violent times” wherein Krishna is figured as a human being with worldly dimensions as do some of the other revered figures representing different schools of thought. Surya (the sun God) or Brahma (the Creator of the Universe), are gendered as males while Ardhanarishwar (the composite male and female figure) represents the essence of all creations in a transgender form. Yaskshas and Yakshinis (nymphs with insatiable sexual appetite and bearing hermaphroditic traits) and Kamdhenu (the wish-fulfilling cow), speak for transvestites or hybrid forms. Lingas and yonis (phallus) are worshipped as symbols of Lord Shiva cutting across sexes as totems of fertility and creativity. The figure of Kali with her flowing locks and streaking hair, lolling tongue and displaced lust for blood, appears as an awesome celestial. As do Triguna (three goddesses that stand for basic tenets of sattva (purity), rajas (drive for action) and tamas (inertia)), Saptamatrika (seven mother goddesses), Ashtalakshmi (eight manifestations of goddess of wealth), Navdurga (nine incarnations of Goddess Durga), Dasmahavidyas (ten aspects of great wisdom represented as Goddess Parvati), Chausath Yoginis (64 female deities as eight divisions of time in a day and eight different directions)  – in various incarnations voicing their concerns about patriarchy. The goddesses frown on the wrongdoings with their third eye and question the injustice meted out to women in societies. There is, however, minimal demarcation of gender in the work where the rendered figures could be perceived any which way the viewer wishes.

Vishnu Vishvarupa Padmanabham, 2015, Acrylic, ing, 24kt gold and silver leaf on canvas, plywood and fibreglass, 122 x 91 x 91 cm.

Kalpavriksha (The Tree of Life), the boon granting wish-fulfilling tree also figures in Seema’s art. Akin to the self-proliferating banyan tree, The Tree of Life represents ecology with its aerial roots shooting down in an eternal continuum and cutting across cultures, imaginaries and geographies. The form with its universal appeal, re-establishes a dialogue between man and nature while it also displays promiscuity. “The tree has helped me find my space and signature in art domain,” says the artist. The figuration of Vishnu Padmanabhan is influenced by her first encounter with the divine form during a visit to the museum in Mathura many moons ago. In ‘Dashavtara’, the deity reclined on the snake appears to deal with the idea of a world inhabited by humans, animals and other living creatures amidst the flora and fauna nurtured in perpetuity. And she created her first sculptural image when she was expecting her son Svabhu, now a young and capable multi-media artist and design professional. The fascination of working on ‘Chausat Yogini’ and her infinite energies struck her while reading about tantra. She made 64 drawings of the Goddess, then etched them on zinc plates, later turning them into sculpture, first in sandstone and subsequently in metal.

Artistic Arc

Seema’s artistic arc has run in parallel with her life track. The sour experience of the marriage ended finally with a divorce, giving Seema the freedom to find her feet on the ground again. She was lucky to meet a ready taker for her art in Kumar Gallery at an early stage in her career. The gallerist bought 21 of her paintings in one go which subsequently found their way into the prestigious collection at Rubin Museum in the USA. The payment she received for the paintings, was useful as “it helped me take care of my two children at that difficult phase in my life”. A solo exhibition which followed in 2006 with Mr Ebrahim Alkazi in his gallery in Delhi was another big break with a sold-out show. This gave her confidence. She gained visibility and space in the current art scene, leading to more exhibitions in upmarket galleries at Mumbai, Chennai, Hyderabad and Bangalore. The publication and release of her first book Swayamsiddha in 2009 which coincided with a major solo exhibition, further consolidated her position as a professional artist.

Eager to experiment and do more, she has successfully expanded her repertoire and made a forte into three-dimensional art and sculpture making too. Learning to work with clay, she first tried her hand by making small sized sculptures. Encouraged by the results, she set up a casting unit in Banda with help from a local technician to experiment with metal. Things fell apart as the technician proved unreliable. Work that was meant to be cast in bronze was sculpted in brass instead. However, what she learnt of modelling and casting in the process was worthwhile. “It opened up my mind and confidence and I started making sculptures besides painting”. The solo exhibition she had in Singapore in 2000 included both her paintings and sculptures that sold well. The money earned was saved to buy a camera that led to her next series of experimentations with photographic art.

Vincent Van Gogh Ear, work in progress at the artist’s studio.

It was building on her work with a camera that resulted in Seema starting to make a video on golden womb in 2003. “This first initiative turned out to be so ambitious that the video is still not edited!” In 2011 she undertook another innovative project that combined her engagement and expertise in photography and painting with performance and collaborative work. For the annual India Art Fair she prepared a performance and photography based project titled ‘Ouroboros’ featuring continuance of the cycle of birth, life and liberation. Fusing Indian and Greek philosophy, she collaborated with makeup artist Dilki Periera from Sri Lanka who did the make-up for her to appear in various incarnations of the goddess for the venture. As she performed, her young daughter Anshika, a professional photographer in her own rights, and son Svabhu worked on the camera for the project. The 84 shots each in 10×10” size, make an interesting collective of 84 painted photographs. “It was an exhausting experience with a very tight timeframe but immensely enriching and enjoyable”. The artist has gone on to create other works in the film/video art genre ranging from ‘Parikrama’ to ‘Unending Dance of Life’.

The intricate and densely drawn and painted compositions with their panoramic perspectives are suggestive of miniature traditions and folk forms with a contemporary touch. The impressionistic figures of human beings hovering over and mostly winged encircled within flora-fauna including trees, lotuses, turtles, fishes, birds and other creatures; evoke a contemplative and calm ambience. The kaleidoscopic colours and rhythm of overlapping spaces in horizontal, vertical and encircling strokes let the viewers feel the mood and matter of the imagery. She has also painted Digpala (the guardian of directions) and forms associated with the cosmos and environment including degraded forests and enchanted groves. The play of light and shade makes the work look mysterious and in a somewhat abstracted figuration. The thought behind all her work revolves around the basic philosophy of life and self-realization. Nothing in the visuals appears in just black or white. There are connotations of grey and other colours too. A meditative mood and an underwater aura marks the imagery, stories, icons and characters in art, sourced from Hindu, Buddhist, Christian and Sufi traditions.  

Seema had her first break on the international stage, with a solo in London in 2006. “I took a break in 2007 to introspect and research”. What followed next in 2008 was another feather in her cap with an award for her video art at the Florence Biennale adding to her confidence. And there has been no looking back. The artist has conceptualised, performed and directed 13+ videos to-date. A series of live performances and lecture demonstrations soon got added to her repertory. She was invited to Arco next where she did a performance with pigment washes and projections while people watched her create artistic magic. Other exhibitions and creative projects followed in quick succession. Part of prestigious collections in India and internationally, her artworks include an exclusive series of credit cards created for Kotak Bank. She feels gratified that her art is appreciated and sells well.

For someone who turned full time to art practice in midlife, Seema Kohli has managed to create a niche for herself, evolving her artistic oeuvre and distinct techniques within a short span of time. A printmaker, painter and multimedia artist, she has experimented with alacrity and success. Her multi-layered art spreads across the genres including murals, ceramics, sculptures, installations, performance, photography and films. Her work has featured in numerous solo and group shows across Indian cities and internationally. “A world of magic influences me and my flight with limitless dreams as if I am an alchemist”, explains the passionate and energetic artist. Constantly on the move, she has also undertaken social projects, conducted workshops, given lectures and live art performances. Within a syncretic context underlined with fundamental tenets of Hinduism, Sufism, Buddhism and Greek mythology, “my emphasis is on the cyclicality and the rejuvenation of life forms”. Hiranyagarbha as the central axis in the continuum of birth, death, and rebirth and the cosmic energy that sustains all creations, is the theme and thrust that threads the varied creatives in this expansive collection.

Reflective of Metaphysical truth of eastern philosophy and spirituality, ‘Celestial Revelations’ is a first-ever international level retrospective art exposition by Seema Kohli. It befits perfectly with the locale and ethos of Belgium based Museum of Sacred Art (MOSA). The substantial solo show incorporates some new art in varied media created by the artist, especially for MOSA. This includes Parvati within a composition of Ardhanarishwar as a manifestation of Shakti. Also ‘Saptmatrika’, ‘Astlakshmi’, ‘Navdurga’, ‘Dasmahavidya’, and ‘Chausath Yogini’, all of them revered women divinities, as part of the eclectic repertoire that celebrates female form and energy. Encompassing the sacred and the profane in a dynamic interactive mode, and not as opposing poles, the creatives seek to search for the divine within. The remarkable exhibition embodies the ancient, mediaeval, modern, contemporary, urban and folk, as the different streams merge and cohabit in the soulful creations.

Note: The text in the quotes is based on the author’s conversations with the artist.


Seema Kohli is a self-taught Indian contemporary artist exploring her medium since the past 28 years. She dreams first, then visualizes and achieves. Her work is symbolic of the progress and recycling of thought processes in her mind. Seema’s language of expression is eclectic, encompassing a wide range of mediums ranging from painting, murals and films to sculptures and installation. Her works revolve around creation, our cosmic journeys, of the oneness of being and our final liberation from materialistic bondages.

She has had over 20 solo shows in NY, Dubai, Singapore, Delhi, Chennai, Mumbai, Hyderabad, and Bangalore. She has also participated in International art fairs (Beijing, Basel, Shanghai, Madrid, Singapore, Hong Kong, Japan, and India). Her work can be seen in public art as murals of 10’ x 100’ at the Delhi International Airport, Mumbai International/Domestic Airport, the Defense Ministry, Tata Residency, Manipal University, Leela Palace and Ritz Carlton Hotels.

She has received a by eDeals”> Gold Award for her video Swayamsiddha-Myth, Mind and Movement at the Biennale Internazionale Dell’Arte Contemporanea, Ciia di Firenze, 7th Edizione 2009 in Florence, Italy and was also honoured with the Young FICCI Organisation Women Achiever’s Award and the Lalit Kala National Award for Women in 2008.

Her paintings are in collections with H.E. The President of Singapore Mr. S.R. Nathan; Chairman of the Arts Council of Singapore, Mr. Liu Thai Ker; Norway High Commissioner, Camlin, UNDCP, Raj Niwas, Pondicherry; Northern Railways, Indian Railways, CCS India, Bharat Bhawan Bhopal, Lalit Kala and Sahitya Kala Akademi and various art collectors, art connoisseurs, leading architects, private and public museums including Rubin’s Museum, USA and MOSA, Brussels, corporate houses, public institutions and consulate generals in India and abroad.

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