The 2024 edition of the Crossword Book Awards, a literary event that brings together authors, publishers, readers, and the literary community, is poised to leave a significant impact. The award, known for blending both critical recognition and popular appeal, aims to celebrate Indian authors writing in English, offering a platform for both established and emerging voices.

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Reopening the Stage for Indian Literature

This year, submissions for the Crossword Book Awards opened on March 18, inviting entries from books published in English between March 1, 2023, and March 1, 2024. With hundreds of books submitted across the categories, the competition is fiercer than ever, reflecting the richness and diversity of contemporary Indian writing. The prize for the Jury Award winners, in each category, is Rs 50,000, with a cash prize of Rs 25,000 for translators (in the Translations category) and illustrators (in the Children’s category).

The return of the Crossword Book Awards is being welcomed by the literary community, with Aakash Gupta, CEO of Crossword Bookstores, remarking, “As we bring back the Crossword Book Awards, we aim to celebrate the rich tapestry of Indian literature and honor the voices that shape our literary landscape. This event is not just about recognizing excellence; it’s also about inspiring future generations to explore the power of storytelling and the joy of reading.”

2024 Longlists Announced

The longlists of the Crossword Book Awards, revealed earlier this year, represent a wide spectrum of voices and themes, from groundbreaking works of fiction to thought-provoking non-fiction, captivating children’s books, insightful translations, and cutting-edge business literature. Each category is judged by a distinguished three-member panel comprising some of the most acclaimed names in Indian literature and journalism.

Fiction (Longlist)

• History’s Angel by Anjum Hasan
• Never, Never Land by Namita Gokhale
• The Memoirs of Valmiki Rao by Lindsay Pereira
• The East Indian by Brinda Charry
• The Gallery by Manju Kapur
• Quarterlife by Devika Rege
• Can’t by Shinie Antony
• Chronicle of an Hour and a Half by Saharu Nusaiba Kannanari
• Tall Tales By a Small Dog by Omair Ahmad
• Shakchunni by Arnab Ray

Non-fiction (Longlist)

• From Phansi Yard by Sudha Bhardwaj
• The Day I Became a Runner by Sohini Chattopadhyay
• City on Fire by Zeyad Masroor Khan
• Swadeshi Steam by A. R. Venkatachalapathy
• A Part Apart by Ashok Gopal
• Mother Cow Mother India by Yamini Narayanan
• Anger Management by Ajay Bisaria
• Being Hindu Being Indian by Vanya Vaidehi Bhargav
• Marginlands by Arati Kumar-Rao
• Fire on the Ganges by Radhika Iyengar

Translations (Longlist)

• Beneath the Simolu Tree by Sarmishtha Pritam, tr. from Assamese by Ranjita Biswas
• Boy, Unloved by Damodar Mauzo, tr. from Konkani by Jerry Pinto
• I Named My Sister Silence by Manoj Rupda, tr. from Hindi by Hansda Sowvendra Shekhar
• Dudiya – In Your Burning Land by Vishwas Patil, tr. from Marathi by Nadeem Khan
• Mithun Number Two by Jayant Kaikini, tr. from Kannada by Tejaswini Niranjana
• Fire Bird by Perumal Murugan, tr. from Tamil by Janani Kannan
• Sakina’s Kiss by Vivek Shanbhag, tr. from Kannada by Srinath Perur
• A Woman Burnt by Imayam, tr. from Tamil by GJV Prasad
• Maria Just Maria by Sandhya Mary, tr. from Malayalam by Jayasree Kalathil
• Fruits of the Barren Tree by Lekhnath Chhetri, tr. from Nepali by Anurag Basnet

Children’s (Longlist)

• Zen by Shabnam Minwalla
• The Henna Start-Up by Andaleeb Wajid
• Bipathu and a Very Big Dream by Anita Nair
• The Case of the Vanishing Gods by Mallika Ravikumar
• A Children’s History of India in 100 Objects by Devika Cariapa
• Mommies by Richa Jha and Priya Sebastian
• From Makaras to Manticores by C.G. Salamander and Sheena Deviah
• Are There Bun Shops in the Jungles of India? by Nandini Nayar
• The Dog with Two Names: Stories that Celebrate Diversity by Nandita Da Cunha
• The Misadventures of a Diamond Thief by Lubaina Bandukwala

Business and Management (Longlist)

• Accelerating India’s Development: A State-led Roadmap For Effective Governance by Karthik Muralidharan
• Al Rising: India’s Artificial Intelligence Growth Story by Leslie D’Monte and Jayanth N. Kolla
• Exprovement: Exponential Improvements Through Converging Parallels by Hersh Haladker and Raghunath Anant Mashelkar
• Farmer Sutra by Kalpana Manivannan
• Inside the Boardroom: How Behaviour Trumps Rationality by R. Gopalakrishnan and Tulsi Jayakumar
• Lilliput Land: How Small Is Driving India’s Mega Consumption Story by Rama Bijapurkar
• Mastering the Data Paradox by Nitin Seth
• The Eight Per Cent Solution: A Strategy for India’s Growth by Nikhil Gupta
• Unfiltered: The CEO and the Coach by Ana Lueneburger and Saurabh Mukherjea
• When the Chips Are Down by Pranay Kotasthane and Abhiram Manchi

What’s Next for the Crossword Book Awards?

The final shortlist of nominees will be announced on November 11, and voting for the Popular Choice Awards will soon open to readers. The winners will be celebrated during a grand awards ceremony in Mumbai on December 12, where India’s literary giants, creative minds, and influential industry leaders will gather to honour the best of Indian writing.

In addition to the Jury Awards, where a distinguished panel of judges selects the best works, the Popular Choice Awards allow readers across the country to have their say in choosing their favourite books. This unique format ensures that the voices of the audience and the literary elite converge, making the Crossword Book Awards truly reflective of the best of Indian literature.

The return of the Crossword Book Awards mark a pivotal moment for the Indian literary scene, with 2024 shaping up to be an exciting year for readers and writers alike.

The post Return Of Crossword Book Awards 2024 – See Longlist appeared first on Delhi Messenger.

Early Life and Background

Jaun Elia was born into an intellectually vibrant family. His father, Allama Shafiq Hasan Elia, was a respected scholar and poet, and his brothers, Rais Amrohvi and Syed Muhammad Taqi, were also prominent figures in literature and journalism. Growing up in such an environment, Jaun was naturally inclined towards literature and philosophy. His early education in Arabic, Persian, and Urdu laid a strong foundation for his literary pursuits.

Yun jo takta hai aasman ko tu

Koi rehta hai aasman mein kya

Ye mujhe chain kyun nahin padta

Ek hi shakhs tha jahaan mein kya

Jaun Elia

The Migration and Personal Struggles

The partition of India in 1947 brought about a significant change in Jaun’s life. His family migrated to Pakistan, a move that deeply affected him. The transition was not just geographical but emotional and cultural, leaving an indelible mark on his psyche. Jaun often expressed his sense of loss and dislocation in his poetry, capturing the pain of uprooting and the longing for his homeland.

Jaun’s personal life was marked by turbulence. He married Zahida Hina, a fellow writer, but their relationship was fraught with difficulties, eventually leading to a separation. The emotional turmoil of his personal life seeped into his poetry, adding layers of depth and sorrow to his work. Despite these struggles, Jaun continued to write, drawing inspiration from his own experiences and the world around him.

Bada ehsaan hum farma rahe hain

Ki unke khat unhe lauta rahe hain

Kissi surat unhe nafrat ho hum se

Hum apne aeb khud ginwa rahe hain

Jaun Elia

Literary Career and Highs

Jaun Elia’s poetry is celebrated for its unique style, blending classical and modern elements. His work is characterised by a profound sense of existential angst, intellectual rigour, and a rebellious spirit. Jaun’s mastery over the language and his ability to convey complex emotions with simplicity set him apart from his contemporaries.

His first collection of poetry Shayad was published in 1990, when he was nearly 60 years old. Despite the late publication, the book was a phenomenal success, resonating with readers and critics alike. Shayad was followed by other collections, including Yaani, Gumaan, and Lekin, each further establishing Jaun’s reputation as a literary genius.

Jaun’s poetry often delved into themes of love, loss, and the search for meaning. His verses were a mirror to his soul, reflecting his innermost thoughts and feelings. His ability to capture the intricacies of human emotions and his philosophical musings endeared him to a wide audience, making him one of the most beloved poets of his time.

Ho raha hu mai kiss tarah barbaad 

Dekhne wale haath malte hain

Kya takalluf karen ye kehne mein

Jo bhi khush hai hum us se jalte hain

Jaun Elia

Recognitions and Legacy

Despite his reclusive nature and the challenges he faced, Jaun Elia received considerable recognition for his contributions to Urdu literature. He was not just a poet but also a scholar, philosopher, and translator, bringing many classical texts into Urdu. His work transcended boundaries, resonating with people across generations and cultures.

Jaun’s legacy is not just in his published works but also in the impact he had on his readers and the literary community. His poetry continues to inspire and move people, offering solace and provoking thought. Jaun Elia’s life and work are a testament to the enduring power of words and the profound impact a poet can have on society.

Saarey rishte tabaah kar aayaa

Dil-e-barbaad apne ghar aaya

Mai raha umar bhar judaa khud se

Yaad main khud ko umar bhar aaya

Jaun Elia

Jaun Elia: The Enigma Lives On

Jaun Elia passed away on November 8, 2002, but his spirit lives on through his poetry. He remains an enigmatic figure, a poet whose life was as complex and captivating as his verses. Jaun’s journey from the narrow lanes of Amroha to the literary circles of Karachi is a story of passion, struggle, and brilliance.

In the world of Urdu poetry, Jaun Elia stands as a beacon of intellectual and emotional depth. His words continue to echo in the hearts of those who seek solace in poetry, offering a glimpse into the mind of a genius who dared to bare his soul to the world.

The post Jaun Elia: The Rebel Poet of the Subcontinent appeared first on Delhi Messenger.

Origin and history

Manjusha painting has its roots in the ancient Mauryan period of Indian history, around the 3rd century BCE. The name “Manjusha” translates to “box” in Sanskrit, symbolising the tradition of using rectangular or square boxes to depict various stories and mythological tales. Initially, Manjusha paintings were created on canvases made from bamboo strips and colored with natural dyes. Over time, the use of cloth and paper as the base became prevalent.

Features and techniques

One of the striking features of Manjusha painting is its distinctive style, characterised by the use of bold, bright colors such as red, yellow, green, and blue. The subjects of the paintings often revolve around mythological stories, local legends, and folk traditions. These narratives are depicted through a series of interconnected rectangular compartments, forming a linear sequence.

The artists employ basic geometric shapes and simple lines to create figures, animals, and objects. The colors are applied in a flat and unshaded manner, contributing to the art form’s unique visual appeal. The compositions are often symmetrical and balanced, enabling easy comprehension of the story being depicted.

Relevance and cultural significance

Manjusha painting serves as a visual medium for storytelling, reflecting the cultural heritage and traditions of the region. These paintings depict the tales of gods and goddesses, local heroes, and folklore, thereby preserving and transmitting the oral history of Bihar. They are often used during religious festivals, weddings, and other auspicious occasions, serving as a visual accompaniment to celebrations.

Furthermore, Manjusha painting acts as a significant source of livelihood for artists and craftsmen in rural Bihar. It provides an avenue for self-expression and a means of connecting with their roots. The art form has also gained recognition at the national and international levels, with exhibitions and workshops held to promote its rich artistic heritage.

Challenges and the decline of Manjusha painting

Sadly, Manjusha painting is gradually fading away due to various challenges faced by the artists and the changing socio-cultural landscape. Some factors contributing to its decline include:

• Lack of patronage: With the advent of modernization and the popularity of contemporary art forms, traditional art forms like Manjusha painting have received less attention and support from art enthusiasts, collectors, and the government.
• Decreasing number of artists: The younger generation, influenced by urbanization and economic opportunities in other sectors, is showing less interest in learning and practicing Manjusha painting. This lack of apprenticeship and transmission of skills threatens the continuity of the art form.
• Economic constraints: The artists often struggle to make a sustainable income from their craft due to limited market access, low demand, and inadequate financial support. This discourages budding artists from pursuing Manjusha painting as a profession.
• Lack of awareness and documentation: Limited efforts have been made to document and promote the Manjusha painting on a larger scale, which hampers its visibility and recognition.

Manjusha painting stands as a testament to the rich cultural heritage of Bihar and the artistic prowess of its people. It is an art form that not only entertains but also educates and connects generations through visual storytelling.

However, without renewed interest, support, and efforts to preserve and revive this traditional folk art, the fading of Manjusha painting threatens to sever a vital link to Bihar’s cultural legacy. It is crucial for art lovers, organisations, and the government to come together to safeguard and revive this exquisite art form, ensuring that its vibrant hues continue to breathe life into the narratives of Bihar’s folklore for generations to come.

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History of bone carving in India

This art has a long history in India, with evidence of the art form dating back to the Indus Valley Civilisation. The Harappan civilisation, which flourished in the Indus Valley around 2500 BCE, created intricate bone carvings, including buttons, beads, and bangles. The craft continued to flourish throughout the centuries and became an important part of Indian culture.

In ancient times, bone carvings were used for a variety of purposes. They were often used as decorative items, amulets, and talismans. They were also used in religious ceremonies and as part of traditional costumes.

The art of bone carving was once practiced across the country, but today, it is primarily found in the states of Rajasthan, Maharashtra, and Gujarat. These states are known for their skilled bone carvers who create intricate designs and sculptures.

Process of bone carving in India

Bone carving is a complex process that requires skill and patience. The first step is to select the bone. In India, cow and buffalo bones are commonly used for carving. The bone is then boiled to remove any flesh and cleaned thoroughly. Once the bone is clean, the carver can begin the process of shaping and carving.

The bone carver uses a variety of tools, including chisels, files, and saws, to shape the bone. They may also use heat to soften the bone and make it more pliable. The carver must be careful not to apply too much pressure, as the bone can crack easily.

Once the basic shape has been created, the carver can begin to add detail to the piece. This may involve etching, carving, or painting the bone. The carver may use a variety of techniques to create different textures and patterns on the bone.

Relevance of bone carving in current times

In today’s modern world, bone carving may seem like an outdated art form. However, it is still relevant in many ways. For one, bone carving in India is an important part of the cultural heritage. It is a traditional craft that has been passed down through generations and is a source of pride for many communities.

Additionally, bone carving is a sustainable art form. By using animal bones that would otherwise go to waste, bone carvers are able to create beautiful pieces of art without harming the environment.

Bone carving in India also has practical applications as bone carvers create a variety of items, including combs, buttons, and jewelry. These items are not only beautiful but also functional. For example, bone combs are gentle on the hair and help to prevent breakage.

Bone carving is a prehistoric art form that has survived through the ages. In India, bone carvers are keeping this ancient craft alive by creating intricate designs and sculptures. Despite the rise of modern technologies, bone carving remains relevant in many ways. It is an important part of India’s cultural heritage, a sustainable art form, and has practical applications. As long as there are skilled bone carvers in India, this prehistoric art form will continue to thrive.

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The name Majnu Ka Tilla is derived from a Sufi saint named Majnu who used to meditate in the area, and ‘Tilla’ which means hill in Hindi. The neighborhood is located on a hill overlooking the Yamuna River, and its winding streets and alleys give it a unique character.

As soon as you step into the area, you are transported to a different world. The narrow alleys are lined with colorful prayer flags, and the sound of Buddhist chants can be heard in the air. The streets are bustling with activity, and the shops and markets are filled with Tibetan handicrafts, jewelry, and clothing.

Bustling markets of Majnu Ka Tilla

One of the most famous markets in Majnu Ka Tilla is the Tibetan Colony Market. Here, you can find everything from traditional Tibetan carpets and handicrafts to contemporary clothing and accessories. The market is a popular destination for both locals and tourists, and the vendors are always ready to strike up a conversation and share stories about their wares.

Apart from the markets, the area is also known for its food. The neighborhood is home to some of the best Tibetan restaurants and cafes in the city. The restaurants serve authentic Tibetan cuisine, including momos, thukpa, and butter tea. The cafes, on the other hand, serve a range of teas, coffees, and snacks, making them the perfect spot to relax after a busy day of shopping.

One of my favorite cafes in Majnu Ka Tilla is Dolma House. The cafe has a cozy, homely feel to it, and the staff is always welcoming. The menu features a range of teas, from classic chai to exotic herbal blends. The food is delicious too, with a wide range of momos, thukpa, and other Tibetan delicacies on offer.

Also Read – Fatehpur Sikri: A unique blend of Islamic and Hindu culture

A blend of cultures

But what truly sets Majnu Ka Tilla apart is its culture. The neighborhood has a unique mix of Tibetan and Indian cultures, and this is reflected in everything from the architecture to the music. The area is also home to several Buddhist monasteries and temples, which are open to visitors and offer a glimpse into the spiritual side of Tibetan culture.

Majnu Ka Tilla is also home to several annual festivals, such as Losar (Tibetan New Year) and the Tibetan food festival. During these festivals, the streets come alive with music, dance, and food, and visitors can experience the vibrancy of Tibetan culture firsthand.

In recent years, it has become a popular destination for backpackers and travelers looking for an authentic cultural experience. The neighborhood has several budget guesthouses and hostels, which offer a comfortable and affordable stay for those looking to explore the area.

Overall, Majnu Ka Tilla is a hidden gem in Delhi that offers a unique blend of Tibetan and Indian cultures. Its vibrant markets, delicious food, and rich culture make it a must-visit destination for anyone looking to experience something different. So, next time you’re in Delhi, be sure to make a stop at Majnu Ka Tilla and immerse yourself in the magic of this charming neighborhood.

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The beginning

Chamkila’s music career began in the late 1970s when he started performing at local events and fairs in Punjab. He quickly gained popularity for his unique style and soon became a household name in the region. His music was heavily influenced by the rural folk music of Punjab, which he blended with modern instruments and rhythms to create a distinctive sound.

Chamkila’s lyrics were known for their bold and controversial themes, including social issues such as caste, gender, and poverty. He also sang about love, heartbreak, and the struggles of everyday life in Punjab. His music was often criticised for being too explicit and vulgar, but he defended his lyrics by saying that he was simply reflecting the reality of life in Punjab.

The rise

Chamkila’s career peaked in the 1980s when he released several hit albums such as “Pehle Lalkare Naal,” “Babu Chandigarhia Da,” “Mera Jee Karda,” and “Jatt Di Dushmani.” His songs were characterised by their bold and irreverent lyrics that challenged the social norms and taboos of Punjabi society. He sang about love, heartbreak, social issues, and everyday struggles, giving voice to the aspirations and frustrations of the common people. Chamkila’s collaborations with his wife Amarjot were also hugely popular, and their electrifying performances became a hallmark of Punjabi music.

The assassination

Unfortunately, Chamkila’s career was cut short when he was tragically assassinated along with his wife Amarjot Kaur on March 8, 1988. This remains one of the most tragic incidents in the history of Punjabi music. The couple was returning from a performance in Mehsampur, Punjab, when they were ambushed by a group of armed assailants who fired multiple shots at them, killing them on the spot. The killers were never identified, and the motive behind the assassination remains unclear.

The killing of Chamkila and Amarjot sent shockwaves through the Punjabi music industry and the public, who were in disbelief that such a heinous crime could be committed against two beloved artists. The incident led to widespread protests and demands for justice, but the investigation into the case did not yield any concrete results. Over the years, several conspiracy theories have emerged regarding the assassination, but none of them have been proven. Chamkila’s death left a void in the Punjabi music scene that has yet to be filled, and his legacy continues to inspire and entertain millions of fans worldwide.

Also Read – Coachella: How this music festival became a cultural phenomenon

The biopics

A court in Ludhiana, Punjab, has recently issued a stay order on the release of the upcoming Punjabi film ‘Jodi Teri Meri’, which is a biopic based on the life of the legendary Punjabi folk singer, Amar Singh Chamkila, and his wife, Amarjot Kaur. The movie, produced by Amberdeep Singh and featuring popular actors Diljit Dosanjh and Nimrat Khaira in lead roles, was scheduled to release on May 5.

This is the second time that a court in Ludhiana has intervened to halt the release of a Chamkila biopic. Previously, the court had stayed the “broadcast, release, and streaming” of another Chamkila biopic, titled ‘Chamkila’. This movie is directed by Imtiaz Ali and features Dosanjh and Parineeti Chopra in lead roles.

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Several films will have their national and Delhi premieres at the festival, including Meghdoot/The Cloud Messenger, Meghbari, and Ghore Pherar Gaan/The Homecoming Song. The Habitat Film Festival 2023 will also feature Delhi premieres of Tora’s Husband, Gargi, and Arivu Mattu Guruvu/The Word and The Teacher.

Mrinal Sen retrospective

To honor the birth centenary of legendary filmmaker Mrinal Sen, the festival will hold a small retrospective of some of his seminal films, including Khandhar, Ek Din Pratidin, and Ek Din Achanak.

According to Mr. Sunit Tandon, Director of the India Habitat Centre, “Indian cinema is clearly going places nowadays, and the Habitat Film Festival 2023 provides an unmatched platform to sample and assess its most recent manifestations. There is something for each film enthusiast in this year’s lovingly curated festival.”

Memorial screenings

As part of the festival, there will be memorial screenings to pay tribute to the directors and actors we lost in the last few months. The festival will host a video tribute and reminiscences from industry colleagues to remember Satish Kaushik, followed by a screening of Dekh Tamasha Dekh. The Habitat Film Festival 2023 will also screen Parineeta to commemorate Pradeep Sarkar and Mrinal Sen’s Ek Din Achanak in memory of Uttara Baokar.

Festival Highlights: Award-winning films and documentaries

The Habitat Film Festival 2023 presents a lineup of award-winning stories that showcase generational differences, revolt, and acceptance. From innocent small-town dreams to spine-chilling thrillers, the films cover a range of themes. Some of the standout entries include:

• Family (2022): A Malayalam film
• Jaggi (2022): A Punjabi film
• Adieu Godard: An Odia film
• Maati Pehchaan (2022): The first-ever Bollywood-style Uttarakhandi (Kumaoni language) feature film
• Ariyippu (Declaration): A Malayalam film
• Chhelo Show/The Last Film Show: The Indian entry for Best International Feature Film at this year’s Oscars, directed by Pan Nalin in Gujarati.

The documentary segment features some of the most acclaimed filmmakers and their works. The lineup includes:

• All That Breathes: A complex, thoughtful, quietly beautiful film by Shaunak Sen about the ecosystem and human community. The filmmaker will be present for an interaction at the screening.
• Urf: Geetika Narang Abbasi’s documentary delves into the lives of three Bollywood celebrity lookalikes.
• Colours of Life: A Ladakhi documentary by Praveen Morchhale that revisits Himalayan mountain villages after five years and explores the lives, philosophies, and thoughts of the locals.
• The Show Must Go On: A documentary by Divya and Jall Cowasji that follows the return of Parsi Theatre’s old icons to the stage, putting their walking sticks aside for one final curtain call.
• Mask Art of Majuli: Utpal Borpujari’s documentary focuses on the only two families that are keeping the traditional mask-making practice alive in Majuli.

The Habitat Film Festival 2023 from its year of inception has evolved into an indispensable annual experience in the cultural calendar of Delhi.

Entry: Through registration, book your passes from 1^st May at www.habitatworld.com

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From textile designing to painting

Jain started her art journey over two and a half decades ago after completing her diploma in Textile Designing from Delhi. While working as a private fine arts tutor in Mumbai and Delhi NCR, she honed her skills and leveraged them in creating captivating art pieces. Over the years, her artwork has been part of numerous exhibitions across India. Her work primarily revolves around acrylic on canvas with a plethora of textures using a multitude of textiles, tools, etc.

The inspiration behind Smita Jain’s art

Her grandfather, who spent his days and nights painting watercolors, inspired Smita Jain to become an artist. Her ancestral home in Ara, Bihar, is also imprinted in her memory. Each trip she takes helps her create a style of architectural abstraction where the landscapes or cityscapes she paints capture not only the architecture but also the ambience of the location.

Architectural abstractions and memories

Smita Jain’s acrylic paintings tell stories that she has heard while traveling. The vibrant colors reflect the life and vivacity of the space without depicting any human or animal figures in the compositions. Her cityscapes go beyond realistic architectural representation, as she creates an assortment of memories hanging in gaps, hidden in shadows, and floating with the clouds. She uses printing blocks, stencils, and spatula impasto to create textures and motifs.

The role of the Curator

Curator Aakshat Sinha explains that his role was to help Smita Jain see what she subconsciously already knew about her work and to present it in new ways. He believes that Smita’s desire to explore her work, be it through materials or presentation, is the driving force behind the exhibition.

Also Read: Bharatanatyam exponent Rama Vaidyanathan presents ‘New Dimensions to the Margam’

The living presence of structures

Sinha further adds that the structures and buildings in Smita Jain’s paintings suggest a living presence because they are designed for habitation. Her cities are not some lonely, deserted wasteland, but rather a brief period of human irrationality or solitude. A perceptive eye, an imaginative mind, and a beating heart can all physically sense the conversations that are occurring there, as well as the lights, shadows, reflections, smells, and tastes that hang in the air.

Overall, Smita Jain’s ‘Past & Beyond’ exhibition is a visual representation of her memories and experiences. She finds inspiration in the intricate details of the buildings’ exteriors, which give her a glimpse into the lives of those who reside within. As an artist, she continues to paint with the same love, passion, and gusto, and her journey has only just begun.

When and where?

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