THE HOURGLASS | POURING THE PAST INTO THE FUTURE

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This exhibition represents a broad array of voices of contemporary artists that have engaged with historical works of art as an inspirational conversation from diverse points of view. Leading studio glassmakers have used a myriad of processes and techniques like glass blowing, slumping, fusing, casting to create an astounding body of art.

A work of art can tell us about the past, connect us to distant lands and peoples, explore the unfamiliar, spark the imagination and open a path to the future. Looking,learning, stretching to understand what has come before so they can embrace it, holds significance in the present day as they bring a contemporary perspective to objects that span the globe across five thousand years of history. This journey of interpretive challenge focuses on each artist choosing a single historical work made in glass from any culture of the artist’s choice with an intense, focused viewing that opens up their imagination and creativity to reinterpret it in a contemporary manner using glass as the medium. Displaying both the image of the historical object and its context as well as the artist’s unpacking of its meaning both analytically and emotionally in text and artwork reveal compelling connections and unlock both the historical and the contemporary in an empowering manner and be a catalyst that could lead to new directions in glass art. This allows the audience to have access to the past, the future and the present simultaneously.

– Kristine Michael

GALLERY

Anjali Srinivasan

‘’This work derives from the India’s Sheesh Mahals, a small part of architectural history of the Indian subcontinent in the 17th century. In these palaces of mirrors, glass mosaics encrust chambers in mesmerizing intricate patterns. The convex mirrors miniaturize and multiply a self-image into a cumulative effect. Sheesh Mahals became obsolete during colonization and the nomadic community who inherited the craft disbanded during the Gujarat earthquakes of 2000.

My attempts explore the question follows : How can I make the obsolete relevant to the here and now ? The “here and now” is not merely my physical location, but what I see as a definitive condition or pattern of existence today: a sense of simultaneity caused by displacement. We traverse boundaries – geographic, cultural and temporal – constantly. The here-and-now no longer begs a choice between here or there, now or then, one or the other. It is a portable world of information. This simultaneity and multiplicity are reflected in my vocabulary of glass mirror. As homage, my work harnesses the optical phenomenon of the Sheesh Mahal to speak about the invisible, scarred and fractured turbulences of our human condition.’’

Artist Profile

Anjali’s background in creative practice stems from collaborations with traditional artisans in India since 1998, on research and design initiatives aimed at socio- economic empowerment.She studied Accessories’ Design at the National Institute of Fashion Technology in New Delhi, hold a BFA from Alfred University, New York, and completed her graduate studies from Rhode Island School of Design in 2007. Her studio processes develop ways to discover, access and restructure information held in a material.she makes glass behave in un-glass-like ways. Currently, she is invested in notions of “biological craftspersonship” and “crowd-created” entities in the fields of sustainability and social engagement.

She lives and work between India and the United States, as Associate Professor at Massachusetts College of Art and Design, Boston, and Director at ChoChoMa Studios, Bengaluru.

Anuj Poddar

’’I am using various mantras such as the Gayatri Mantra into my glass sculptures which adds a spiritual dimension, as the mantra is a sacred hymn seeking divine guidance and enlightenment. This infusion aims to evoke a sense of tranquility and connection with the higher consciousness in the viewers.’’ Anuj Poddar

Artist Profile

Born in Bokaro, Jharkhand, Anuj graduated in Painting from MS University Vadodara. He later worked as glass designer at Glasstones Mehtaab Engineering and Kamal/Surya glass factory, Makarpura, Vadodara and at Glassage, Surat. Anuj has been art consultant to South Delhi Municipal Corporation, Delhi from 2018 and is also visiting faculty to teach glass applications at IED Vallabh Vidyanagar, Gujarat. He has participated in many national level group exhibitions, the most recent being ‘Waste To Art ‘ Sculpture Workshop, Ujjain in 2018 and Bharat Darshan Park, Punjabi Bhag, SDMC, Delhi in 2021; Sculpture Symposium & “Spirit Of Baroda” Part 2, Akota Stadium, Baroda and the International Painting and Sculpture Workshop, Goa in 2017.He has exhibited widely nationally, among which ar Art-Mart, Khajuraho, The Baroda March, Coomaraswami Hall, Mumbai and Wat-R-Colour, Faculty Of Fine Arts, Vadodara in 2016; Rhythm and Blue, Gallery Sanskriti, Kolkata by AFSA in 2017 and in 2021, Narrative, Glass and Ceramic Show. Splatter Studio, Vadodara. He has also exhibited in Palo Alto USA.

Atul Bakshi

I have taken inspiration from a poem on Migrations of Humans

I looked over my shoulder as many before me must have

A land so familiar now fading away in the distance behind

A last gulp of familiar air, the fragrance of familiar trees

All to be left behind, the leaves shivered at the uncertainty ahead

The dust arose as a multitude moved, their destiny yet to unfold

When one uproots oneself, the pain shrieks in many ways

Yet it must be done I console myself for a better tomorrow awaits

Of many moons, many days, many a travel, many a terrain we did

Till our shadows of many fears and deprivations fell far behind

Yonder lay our future, soon we drank of the new land and new trees

Breathed in the freshness of a new soil to soak and sink our roots in.

Artist Profile

Studio Lead Light opened in 1995 in Delhi, when Atul Bakshi left a successful career in the merchant navy to pursue his passion for glass. Studio Lead Light is one of the first glass art studios in Delhi and remains one of the only studios to work on a diverse range of glass projects- from modern, large-scale commissioned works to the restoration of churches, both hot and stained glass. Even with its impressive repertoire of commercial and conservation work, Studio Lead Light remains focused on its vision of glass as a fine art medium, an experimental and expressive art form.

Atul has participated widely in exhibitions in India and Sweden and restored/renewed stained glass windows in Bishop Cotton School Chapel, Lawrence School Chapel, St.Paul’s Church, Agra, The Old Vicarage and Nevil’s Cross Hotel, Durham, England and Holy Cross Church, Bangalore, among others. His works are in the collections of Lemon Tree Hotels chain, Jindal Corporate office Gurgaon, Linkoping Museum, Sweden and the Swarovski India office.

Atul is assisted by Deepak Tiwari and Suresh Kumar in Ferozabad. Atul lives and works in Delhi and Doogani, Nainital.

Gunilla Kihlgren

‘’My vision with my artistic work is to let the material glass show its nature and changeability. I have always been interested in bodily shapes, which is often seen in my works. I like to look back to our history and especially to the Baroque and its architecture and art. “The Globe” is a work born out of thoughts about our environment and that we are all here together. ‘’ Gunilla Kihlgren

Artist Profile

Hemi Bawa

’This work is inspired by the Murano glass sculpture of the figure from Edward Munch’s famous painting of 1893

“The Scream”. Hemi Bawa

‘’Drawing inspiration from the elegant design of 1830’s hourglasses, my concept involves to merges vintage aesthetics with contemporary artistry, symbolizing the timeless flow of moments encapsulated within the confines of a bygone era’’

Hemi Bawa

Artist Profile

Hemi Bawa was born in 1948. Her initiation into the formal world of art was through her training at the Triveni Kala Sangam in New Delhi from 1969 onward. Today she is widely recognised for her commitment to developing the niche field of contemporary glass art in India. A painter, sculptor, and multidisciplinary practitioner, she believes in an organic relationship with every medium she works with, deriving the utmost in terms of its formal and material attributes as well as metaphorical significance. From her first solo exhibition at Sridharini Gallery in 1980, to experimental showcase ‘Bodies of Light’ (Artspeaks India, 2020), Hemi Bawa’s journey as an artist has been as much connected to intuitive explorations as the mastering of skills. Hemi Bawa’s artisanal cast-glass sculptures, works employing other glass techniques, large scale installations in stone, fiberglass, and metal, and mixed media experiments all demonstrate a sense of innate strength and visual harmony that extend from her personalised aesthetics.

With a career of more than five decades behind her, she has received the prestigious Padma Shri, the fourth highest civilian honour awarded by the Government of India, for her service to the arts (2009). Her works have been invited and collected by prominent international museums such as the Corning Museum of Glass, New York (2005) and the Sculpture Garden at Tuscany, Italy (2001). She was commissioned by Coca Cola to make a sculpture for the Antlanta Olympic Games (1996). Her work can be found in major public and private collections, and the Harry Winston Brand facilitated and published a book on Hemi Bawa in 2010.

Glass Forest

The Twilight collection has a predominant palette of black, white and grey and the use of clean geometric forms inspired by the aesthetic of the Art Deco period. Glass objects with blobs of glass in contrasting colours to the base were made in Syrian glass factories around the 12th century CE. The Honeydew collection is a contemporary re- interpretation of this medieval concept.

Artist Profile

Founder of Glass Forest with Deeksha Saini, Pallavi Chandra graduated with a BDes in Lifestyle Accessory from NIFT, Gandhinagar, and MDes in Ceramics and Glass from the National Institute of Design, Ahmedabad. She honed her skills in product conceptualization, realization and learned how to turn raw glass into beautifully designed functional objects. After nine years of significant experience in the design industry with firms such as Klove Design and Ganjam Nagappa & Sons she started her own brand, Glass Forest. Pallavi also is visiting faculty at National Institute of Fashion Technology Delhi and Unitedworld Institute Of Design. Deeksha Saini completed her design education from NIFT, and went on to work in the luxury lighting industry, where she fell in love with glass. Their installations include metal design elements in wall works such as Koi Pond, Lily Pad and Lotus Leaves.

Ismail Yusuf Plumber

‘’I am inspired by Lalique’s Flora Bella, which has a rich history of creating glass art that caters to and captivates the common people of his era. The incorporation of diverse human forms and expressions was prevalent in his art pieces, which also aided in drawing a broad audience to his work. As an inspiration, his endeavors to make these pieces more accessible to the common people further motivate me to examine the current state of ordinary individuals and infuse it into my own art. ‘’ Ismail plumber

Artist Profile

Ismail, a visionary artist and owner-operator of Studio Golden Glass, is a luminary in the world of architectural glass design. As the co-founder of Rural Modern Glass Studio, India’s inaugural public access glass studio, he stands as a pioneer, reshaping the artistic landscape. Based in vibrant Mumbai, Ismail’s journey as a self-taught glass artist began within the confines of his family’s architectural glass business. With no formal art training, he has seamlessly blended tradition with innovation, mastering an array of glass art techniques, including fused, cast, lampwork, and hot glass. Ismail’s artistic odyssey is a testament to his lifelong dedication to the transformative beauty of glass, making him a distinguished and influential figure in the global art community.

Kavita Nayar

‘’The word Fanous is a term that originated from Greek phanos. It means light or lantern. Historically used in its meaning of ‘the light of the world’ and is a symbol of hope, as in light in the darkness. I have worked on the concept of Light and Form of the fanous. The dim but strong light emanating from the slender delicate glass chimney creates a mysterious chiaroscuro.

Going down memory lane, due to frequent load shedding, this lamp had become an integral part of our growing up days in Kolkata and Shantiniketan. Almost every evening, studies had to be accomplished in this lamp light. The most irritating part was the frequent intermittent cleaning of the soot that would get collected around the glass chimney. To console us, mother would recite a Sanskrit shloka from the Upanishad- Asato Ma Sadgamaya…. Tamaso ma Jyotirgamaya….

Lead me from the unreal to the real …lead me from darkness to light…lead the life toward knowledge from ignorance… Today when I look back, I realise all the aspirations of the human heart have been included in these lines.’’ Kavita Nayar

Artist Profile

Kavita Nayar is an accomplished artist with a bachelor’s degree from Kala Bhawan Shantiniketan and a master’s degree from the College of Art, New Delhi. Her artistic journey has been adorned with prestigious accolades, including the French Government scholarship and the Charles Wallace India Trust Fellowship, which led her to work in Cite internationale Des Arts and as a visiting artist at Oxford University, England.

Nayar’s remarkable career is highlighted by solo exhibitions at renowned venues such as Bose Pacia Modern in New York, Oxford University in England, and various private galleries across Delhi, Kolkata, and Mumbai. Her works find a distinguished place in collections at the Prime Minister’s House in India, the Ministry of Civil Aviation in New Delhi, the National Gallery of Modern Art in New Delhi, Otterbein University in Ohio, and in notable academies, corporate establishments, and private residences in India and abroad.

Currently, Nayar dedicates her time to freelancing and shares her expertise as a visiting professor at the College of Art, New Delhi. Additionally, she serves as a Trustee of the Kala Sakshi Memorial Trust, an NGO committed to scholarships and mentoring programs, providing a platform for young and deserving art students to flourish in their creative pursuits.

Lasse Frisk

‘’This symbol from the Viking Age in the North has inspired me to make these dragons in fused glass. Midgård (from Old Norse Miðgarðr “the abode in the middle”) is in Nordic mythology the world of humans. It is situated between the worlds of the gods and giants and is surrounded by a great ocean.

Midgårdsormen (the Midyard Serpent) is a dragon which surrounds Midgård It symbolizes the eternal threat to man from the other worlds. ‘’ Lasse Frisk

Artist Profile

Nehmat Mongia

‘’Medicinal bottles are probably the largest and most diverse group of bottles produced all over the world. The work is an attempt to draw attention to rising temperature and global warming before we might just became like any other residue of nature, just like a fossil or petroleum. Where we are going is unknown and not predictable, the environment is changing and temperatures are rising which can be felt. Metaphorically, I have used medicine vials to depict the idea that it is high time for us to take precautions before its too late and we damage the ecosystem.’’ Nehmat Mongia

Artist Profile

Nehmat Mongia graduated from the National Institute of Design, Ahmedabad with a Masters of Design in Ceramic and Glass Design and a BFA in Painting from College of Art Delhi. . Her graduation project was in Up-Cycling Waste Glass, under the Ford Foundation. She developed skill training workshops for kabadi Wallas to provide bottle cutting services for economic growth and has facilitated 230 people in workshops to up-cycle waste glass.

Her design projects include Zero Waste, Sustainable Christmas Installation at Le Meridien, Delhi; Experiential Installation for promoting the Purdilnagar Glass bead; Charpoy woven Christmas Installation converted into furniture for the Cafe@4 which was also exhibited at India Design Mahila Housing SEWA Trust. She has also conceptualised, designed and executed 600 square feet of wall art for raising awareness about pollution concerns faced by women construction workers. Nehmat Mongia has been awarded the Dhirubhai Ambani Relience Trust Scholarship 2015-2019; the International Award for Young People 2015 and most recently the Vinod Dixit Project Award Awarded for ‘Recreation of the Sistine Chapel’, ‘Leadership Abilities’ & ‘Excellence in art by LK Advani.

Radhika Krish

The Alchemy of Broken Bangles Glass bangles have a long and fascinating history in Indian society, tracing their origins to the ancient times of the Indus Valley Civilization. These delicate adornments, symbols of femininity, marital status, and auspiciousness also carry the weight of societal norms placed on women. The deliberate act of breaking, melting and reshaping bangles, symbolises a personal journey to undo societal conditioning and reclaim individual choice. The vessel forms created serve as a metaphor for the female body, while the prominent circle represents the bindi -another marker of married women. Through this transformative process, I seek to challenge and redefine the narratives woven into these seemingly simple objects, inviting viewers to reconsider the complexities of societal conditioning.

Artist Profile

Radhika Krish is a Graduate of Fine Arts from Ohio State University who made the transition from being a database programmer in information technology to a glass artist. She has over fifteen years of experience in the field of glass art. She founded Goli Soda Glass Studio in Chennai to offer a unique learning experience with a mission to make recycled glass useful and our art practice sustainable. She has been an assistant teacher at O.S.U and has had her work shown at Urban Arts Space, Glass Axis among other galleries in Ohio. She has participated in prestigious Glass Fashion Shows in Murano and Toledo, where she fashioned her own wearable art from glass, a material that is not normally used on the body. Her work has been featured in several local and national publications in India including The Hindu, Deccan Chronicle and others. She is a regular speaker at Art symposiums, NFIT and local educational institutions. Radhika has had several installations including at TEDX Chennai, The Spoken Wave Festival for mental health awareness, and at Apex Pharmaceuticals corporate headquarters.

Ranjana Sadhukhan

‘’I have referenced a glass portrait of the emperor Septimius Severus of Ancient Rome. I am illustrating the character of Nandi in this style with improvisation as there are no heavy ornaments, no coronet, and the eyes are also describing the wrath towards egoistic people. Lord Shiva is the god of destruction and his principle is “Creation after the destruction”. Nandi is the Brahman bull or Indian ox, the guardian of deity of Kailas. We can see stone images of a seated Nandi, almost in all Shiva temples.

I am guided by my inner vision, the properties of the material, my emotions and my point of view through a simplified way. Inspiration comes to me only after any incident or past experience , from a place deep inside my subconscious. My works are a celebration of form, texture and colour gradation. Each piece I create is simultaneously an extension from my past, where I’ve come from and what I’ve learned , as well as a preview of my future, where I’m going. ‘’ Ranjana Sadhukhan

Artist Profile

Reshmi Dey

‘’The Oinochoe is an elegant vessel of Roman times, with a mouth formed like a trefoil and a handle with a delicate curve.like a trefoil and a handle with a delicate curve. It combines heart and mind while being functional or aesthetically pleasing. History plays a fundamental role in human thought. It invokes notions of human agency, change, and the role of material circumstances in human affairs. It suggests the possibility of better understanding of human emotions by understanding the forces, choices, and circumstances that bring out certain emotions in some specific situation.

I have explored this historical artifact and attempted to express a connection between people and Oinochoe transforming the historical object into modern and abstract art pieces. Hence giving a new meaning to the object. The wine pourer was crafted by a human – a glassmaker, who must have experienced a range of emotions or feelings while crafting the piece and that got expressed while making like Triumph, Surrender, Abnegate Shackled and Halcyon. These reflections can be grouped together into a body of work called Oinochoe – Forward or Reverse. ‘’ Reshmi Dey

Artist Profile

In 1999, Reshmi Dey, an Economics and Mathematics graduate, turned her back to the corporate world to follow her heart. She found her calling in the creative glass industry. Her first introduction to studio glass art was in 2001 under the guidance of Czech Maestro Petre Novotny and Martin Jenesky. She later also studied at the International Glass Centre, Dudley UK with a specialization in hot glass blowing. In 2017, Reshmi established India’s first public access glass art studio, along with the company Glass Sutra Studio Pvt. Ltd. in New Delhi which promotes education, awareness and appreciation about glass art. She has also worked extensively with the glass artisans of Firozabad, U.P.

Reshmi has consulted and facilitated the International Labour Organisation (ILO) and The Director General of Employment and Labour (DGE&T) under Ministry of Labour (Government of India), for the Skill Development Programme over four years. She was awarded the Senior Fellowship by Ministry of Culture, Government of India in 2017. Reshmi lives and works in Delhi.

Revati Jayakrishnan

While the Roman cameo glass used blown glass combined with carving and etching processes to create the imagery, I have attempted to fuse imagery created by the tribal beadwork craft of Saurashtra onto a vessel form created through kiln forming.

Artist Profile

Revati Jayakrishnan is an artist, designer, maker and educator. A graduate of the Indian Institute of Crafts and Design, Jaipur with an MA in Contemporary Crafts from the University for the Creative Arts, Farnham, UK, she runs Rare Studios – a practice specializing in ceramics and glass. Her work is part of the Sanskriti Museum, New Delhi and has been exhibited at the London Design Festival (2014) and the Kala Ghoda Arts Festival (2016). A recipient of NCECA’s Multicultural Fellowship (2016), she presented her research at the 2023 NCECA conference in USA. She is currently Assistant Professor at the School of Creativity, Rishihood University, Sonipat.

Ritu Jha

Inspired by a Roman glass seal of 1st century BC, I have researched on glass jewellery that was often a more affordable option to precious gemstones. My work is about a society where people’s ability and behaviour is judged by their horoscope. These opinions raise questions and self doubt leading to lack of self confidence which affects one’s daily life.

Artist Profile

Ritu Jha, hailing from Jamalpur, Bihar, is a skilled artist who earned her undergraduate degree in ceramics and glasses from Kala Bhavana, Visva Bharati University. Currently pursuing her master’s degree at Kala Bhavana, Ritu is dedicated to pushing the boundaries of her artistic expression within the realm of ceramics and glasses. Her work reflects a deep passion for the craft and a commitment to continuous growth and exploration.

Sisir Sahana

‘’I saw many objects/artifacts made in glass in the various museums that have captivated my mind and inner soul. I have been inspired by a Roman vase in glass made about 2000 years ago, collection of the Corning Museum of Glass. We have witnessed many ancient artworks of figurative images made in different kinds of materials and mediums. Few pots or vases visually look like women figures. The vase gets transformed into a woman/mother in my vision and inner thinking.

For me, women are the treasure vessels. I visualize immense growth in the core of the body. The growth comes as various metaphors and represents life within. The vase becomes a living thing perceptually and within the woman figure, there are natural motifs as metaphors. Therefore, I have followed the form of vase and transformed it into an artwork signifying human nature or a genesis in glass of nature.’’

Sisir Sahana

Artist Profile

A professor in Ceramics & Glass, Department of Design in Kala-Bhavana, Visva-Bharati, Santiniketan, Sisir Sahana graduated in painting from Kala-Bhavan and in Stained Glass from Central St. Martin’s College of Art & Design, London. He has exhibited widely and is the recipient of the Commonwealth Scholarship, Junior and Senior Research Fellowship in the field of Glass Painting from Department of Culture, Government of India. He was invited on a Fellowship/Residency program by Creative Glass Center of America, USA in 2000 and participated in a residency programme with the Pittsburgh Glass Center, USA. Sisir is also a documentary filmmaker on the life of artists; ‘Maati-O-Manush’ received a Jury Award from The New Hope Film Festival, USA in 2010. His other films include ‘Suryaprakash: A Journey through Life and Art’; ‘Nandan Mela, Kala-Bhavana and Santiniketan – A Collective Spirit’ and ‘Visva-bharati’, on the occasion of 100th year of Visva-Bharati.

Sisir lives and works in Shanti Niketan.

Srila Mookherjee

Artist Profile

The founder of Aakriti Studio, the first hot glass studio in Kolkata, India, Srila Mookherjee graduated in Ceramics from the National Institute of Design, Ahmedabad. She apprenticed in pottery in Finland and in glass, she has trained under Anthony Stern at Stern Glass Ltd, London as well as at The Glasshouse, London, where she was assistant to artists Annette Meech, David Taylor, Christopher Williams and Fleur Tookey. She teaches glass as visiting faculty, National Institute of Design and is responsible for the introduction of contemporary glass design in India. She is also founder member & partner, AFSA Fired Art LLP as well as founder member, Indo Swedish Glass Sambandh. She has held many international and national solo and group exhibitions. Her recent group shows include INKO Centre Chennai ‘Tempered’ curated by Kristine Michael 2022: ‘Kindling Change’, Serendipity Art Festival, Goa 2019; Matisse Revisited, Birla Academy of Art & Culture, Kolkata; My Own Muse, Art Exposure, Kolkata and Indo Swedish Glass Sambandh, Linkoping, Sweden.

Srila lives and works in Kolkata.

M. Sasidharan

Artist Profile

M. Sasidharan graduated from College of Fine Arts Trivandrum and completed his MFA in Mural design from M.S. University Vadodara. He was awarded under Cultural Exchange between India and Sweden, the Swedish Institute Scholarship to study glass at the Academy of Fine Arts Stockholm, Sweden as well as the Charles Wallace Scholarship, U.K, to study glass as an artistic medium at the College of Art, Edinburgh, UK. In 2000, he won the Kerala State Award for Painting. His notable international exhibitions among others are: ‘Six Young Artists’, Festival of India’ Sweden, 1987; ‘Crossing the Black Waters’ Asian and British– Asian Artists in U.K. 1992; ‘Through the Looking Glass’, Ostergotlands Lansmuseum, Linkoping, Sweden, 2006; ‘Incisive Instincts’, Tamarind Art Gallery, New York, 2010; Smart Art Gallery, Germany, 2012-13. Sashi has exhibited widely nationally in both solo and group shows. He has been visiting faculty at the Australian National University, Canberra, Australia; Visual art Department, AMU, Aligarh; NID Ahmedabad and at IICD, Jaipur. His artist residencies have been at University of Lancashire, Glass Sambandh Sweden, Harmony Art Foundation, Mumbai and most recently “Winter Narratives” international artists in residency organized by Art Core, UK in Vadodara.

M. Sasidharan currently teaches painting at the Faculty of Fine Arts, M.S.University, in Vadodara,Gujarat.

Vijay Roy

‘’The pattern of this ancient Iranian bowl caught my attention, and I was very impressed with it. I love this Indo-Persian design and decided to recreate the ancient pattern in fused glass or cast glass. I look at the historical monuments near my hometown Ahmedabad, and see that the Sarkhej Roza, Adalaj ki Vav, Ambabai ki Vav, Sidi Syed ki Jali and Jumma Masjid have similarities with each other. The state of our historical monuments in many places, where trees and plants have emerged today has made me concerned and this is the concept I will be trying to depict. ‘’ Vijay Roy

Artist Profile

Roy Vijaykumar S is an accomplished Indian artist born in 1978, in Ahmedabad, Gujarat. With a post-diploma in Painting from the Faculty of Fine Arts, The M.S. University of Baroda, Vadodara, Vijay has dedicated his artistic journey to the medium of Glass since 2002. Throughout his career, he has garnered recognition for his exceptional talent, receiving awards such as the Gujarat Lalit Kala Academy Sculpture Awards in 2016 and 2021, as well as the Best Landscape Painting award from Kala Kendra, Vallabh Vidyanagar, Gujarat, in 1997.

His solo exhibition, “My Silent Poetry 2 – Glass,” held at Ahmedabad Ni GUFA in 2022, and “My Silent Poetry – Glass” in 2016, showcased his distinctive artistic expression. His work extends beyond solo exhibitions, participating in numerous group exhibitions, workshops, art camps, and being featured in magazines and books worldwide. His works can be found in collections across cities and countries, including Ahmedabad, Vadodara, Mumbai, U.S.A, U.K, South Africa, Australia, Dubai, Austria, France, Bulgaria Glass Museum, among others.

Vijay works and resides in Ahmedabad.