Delhi exhibition explores how artists interpret the sacred

An exhibition in the national capital is examining how artists understand the sacred, moving away from the idea that sacredness belongs only to fixed or designated spaces. Titled 'Standing on Sacred Ground', it brings together seven artists whose works engage with material, memory, roots and the familiar objects of daily life.

The show is being held at the Kalakriti Art Gallery at Bikaner House and will remain open until September 21.

At its core lies a set of questions: what do artists hold sacred? Is it the material they work with, the subjects they choose, the landscapes and communities they come from, or the stories and images that have shaped their imagination? The exhibition attempts to connect the artist's inner world with an external universe of myths, legends and fables.

A notable feature is how the participating artists draw on indigenous practices and traditional visual languages without merely reproducing them. Familiar motifs, symbols and everyday objects are lifted out of their usual contexts and reimagined.

Rekha P Lahoti, co-founder and director of Kalakriti Art Gallery, said the seven artists approach spirituality through different materials. She noted that Mayadhar works with wood and interprets spirituality through architecture, drawing on the Konark Temple and its architecture given his roots in Odisha. Bratin Khan, from Shantiniketan, is influenced by Suhas Roy and has worked in black and white for the first time, she said. Keerti Pooja, meanwhile, explores what is offered to God, such as marigolds, jasmine and the garlands made from them.

Lahoti described the display as offering visitors multiple entry points, with seven artists, seven materials, seven thought processes and seven narratives.

Mayadhar Sahu said his art is inspired by the temple architecture of Odisha, particularly Konark and Puri. He presents their temple designs as a contemporary art form and a medium for dialogue. Depending on the size, each piece can take a year or two to complete because of the detailed craftsmanship and fine carving involved.

Bratin Khan, from West Bengal, traced his work to childhood memories of growing up in a village. He recalled playing by a pond and under trees, watching monsoon clouds roll in, people getting soaked in the rain and plants blooming again. Those feelings and details, he said, stayed with him and continue to drive his painting even while living in a city.