Category: Art Exhibition

From: January 16 – 31, 2026

JMD Gallery Presents

“Breath of The Infinite”

A Group Exhibition of Paintings by Chetan Katigar, Dinesh Kumar Parmar, Pradip Kumar Sau, Ranjit Kurmi, Santosh Kumar Sandilya

VENUE:

JMD Art Gallery

J – 109, Ansa Industrial Estate,

Saki Vihar Road, Saki Naka,

Near Shiv Sagar Restaurant, Andheri East,

Mumbai, Maharashtra 400072

Phone: 093231 29595 / 09221133506

www.jmdartgallery.com

Timing: 11am to 7pm

Breath of The Infinite

A Group show of Paintings by five contemporary renowned artists – Chetan Katigar, Dinesh Kumar Parmar, Pradip Kumar Sau, Ranjit Kurmi, Santosh Kumar Sandilya will be displayed at JMD Art Gallery, J-109, Ansa Industrial Estate, Saki Naka, Andheri(West), Mumbai from 16th to 31st January 2026 between 11am to 7pm.

Santosh Kumar Sandilya paints Kashi not as a picturesque city but as a living cosmology, where architecture, river, boats, and human ritual are bound into one breathing organism. Working with Ganga -jal as both medium and meaning, his layered ghats turn Varanasi into a site where faith, time, and everyday life flow through the same visual bloodstream.

Ranjit Kurmi’s abstraction moves like a charged weather system; bands of colour collide, fracture, and recombine, producing a painterly turbulence that feels both lyrical and volatile. His canvases hold the tension between structure and release, where pigment behaves like memory in motion rather than fixed form.

Chetan Katigar builds a lush narrative theatre where myth, music, flora, and human presence fold into a single ornamental rhythm, giving devotional storytelling the pulse of contemporary colour. His figurative worlds feel ceremonial yet intimate, where Krishna, musicians, animals, and forest become a single breathing choreography rather than separate motifs.

Pradip Kumar Sau constructs a metaphysical theatre in blue, where floating heads, ascending triangles amidst celestial bodies, and drifting bodies map the human mind’s restless pull between gravity and transcendence. His paintings stage the psyche as a dream-space in which the finite body strains toward an infinite, luminous elsewhere.

Dinesh Parmar composes memory like a palimpsest; layered fields of colour, fractured faces, and symbolic geometry drifting through one another as if time itself were being slowly repainted. His mixed-media surfaces feel archaeological, where emotion, history, and private myth surface and dissolve in the same breath.

This show was inaugurated on 16th January 2026 by Honourable Guests Mr. Milind Pai(Principal Architect), Mr. Sameer Bhambere(Founder of Lemon Yellow LLP)

—–Sushma Sabnis (Art Curator & Writer)

JMD Art Gallery Presents “Breath Of The Infinite” A Group Exhibition Of Paintings By 5 Contemporary Renowned Artists

From: 23^rd to 29^th December 2025

“CHITTADARSHANI”

Art Exhibition by contemporary artist Dhiraj Hadole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

www.dhirajhadole.com

Holding Space: Dhiraj Hadole’s Geometry

Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.

His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.

At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.

The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.

Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.

What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.

These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  :Director – Magnifique Décor and Mangal Movements Mumbai

—-Sushma Sabnis Mumbai (December 2025)

https://www.youtube.com/shorts/zrHgAgREL1k

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

From: 23^rd to 29^th December 2025

“CHITTADARSHANI”

Art Exhibition by contemporary artist Dhiraj Hadole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

www.dhirajhadole.com

Holding Space: Dhiraj Hadole’s Geometry

Dhiraj Hadole’s work enters the long history of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter, inward recalibration of what geometry can hold within. Where early modernist abstraction like Constructivism, De Stijl, Suprematism, often positioned geometry as a universal language detached from subjectivity, Hadole belongs to a later, more reflective strain of abstractionists that allow structure to coexist with memory, affect, continuity, and care.

His compositions recall the disciplined clarity of hard-edge abstraction, yet they resist its doctrinaire coolness. Unlike the mathematically assertive geometries of artists such as early Bauhaus painters, Hadole’s planes feel lived-in. They are not declarations; they are settlements. The edges meet without aggression, and colour behaves less like a system and more like a mood. This places his work closer to artists who softened geometry through experience, where colour interaction became psychological rather than purely optical, like Josef Albers.

At the same time, Hadole’s surfaces carry an unmistakable emotional register that aligns him with a lineage of felt abstraction, artists who used reduction not to erase feeling, but to distil it. One senses an affinity with quiet grids, where repetition functions as a form of attention rather than control. Hadole treats geometry as a meditative framework, a way to steady the mind rather than dominate it. It is evident in the way he constructs the wood stretcher, and drapes the canvas over it deftly, almost like one was reenacting a childhood memory, shaping it to precision.

The stitched and layered qualities in his work also introduce a material memory absent from classical geometric abstraction. Here, the work quietly diverges from Western modernist purity and moves toward a more indigenous abstraction; one shaped by domestic knowledge, textile logic, and inherited labour. Hadole’s quilt-inspired works situate him within a broader global shift where abstraction absorbs cultural specificity without becoming illustrative of the milieu. The geometry does not reference craft directly, yet it carries its ethics: patience, repair, assembly, warmth.

Emotionally, these works do not aim for expressionism. There is no outburst, no rupture. Instead, they emerge as a feeling that can exist in equilibrium, that care can be structured, that intimacy can be measured without being diminished. This places Hadole in dialogue with post-minimalist sensibilities, where restraint becomes a moral position rather than an aesthetic trick.

What makes Hadole’s paintings quietly radical is their ethics. They insist that stability is not the enemy of life. They argue, without preaching, that a composed surface can still carry intimacy, that precision can still be soft. Dhiraj Hadole’s geometry is not about control for its own sake; it is about building a space where inner turbulence can settle without being forgotten. In that sense, his work aligns with the exhibition’s spirit of Chitta–Chitra: the mind and heart translated into image, not through confession, but through construction.

These are paintings that behave like shelters. They do not shout to be understood. They stay, they steady, and they reward the viewer who is willing to slow down and meet them at their pace.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni :Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  :Director – Magnifique Décor and Mangal Movements Mumbai

—-Sushma Sabnis Mumbai (December 2025)

https://www.youtube.com/shorts/zrHgAgREL1k

“CHITTADARSHANI” Art Exhibition By Contemporary Artist Dhiraj Hadole In Jehangir Art Gallery

From: 23^rd to 29^th December 2025

“CHITTADARSHANI”

An Art Exhibition by Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Dhiraj Hadole 

Dhiraj Hadole’s work enters the lineage of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter recalibration of what geometry can contain. Hadole belongs to a reflective generation that allows structure to coexist with memory, affect, and care.

His compositions echo the discipline of hard-edge abstraction, yet resist its doctrinaire coolness. The planes feel inhabited rather than imposed; edges meet without aggression, and colour operates as mood. Geometry here is closer to a psychological modulation than an optical one. Reduction does not erase feeling, it distils it. Repetition becomes attention, not control.

Materially, Hadole’s practice departs from modernist purity. The stitched, layered surfaces introduce a tactile memory aligned with domestic knowledge and inherited labour. Quilt-like constructions suggest an indigenous abstraction shaped by patience, repair, and assembly, without slipping into literal craft reference. Cultural specificity is absorbed ethically, not illustrated.

These works propose equilibrium: that intimacy can be measured. In this restraint lies their quiet radicalism. Dhiraj Hadole proves that stability is not the enemy of depth, that precision can remain soft. These are paintings that behave like shelters, steady, composed, and rewarding to those willing to slow down and meet them on their own terms.

Pravin Waghmare

Pravin Waghmare’s art practice emerges from an acute attentiveness to the visual and emotional residues of everyday life. Forms, colours, textures, and fleeting sensations are not treated as passive observations but as active forces that impress themselves upon the artist’s inner self. From this silent accumulation of experience, Waghmare constructs a language of abstraction that is grounded firmly in lived reality.

Although his works appear abstract, they are anchored in the rhythms of the visible world, its pauses, frictions, and reverberations. His surfaces carry a sense of return and response: every encounter, whether with nature, society, or the ordinary mechanics of daily existence, rebounds into the pictorial field. This cyclical exchange lends his compositions a quiet intensity, where colour blocks, fractured planes, and layered textures behave like echoes of perception rather than representations of objects.

Waghmare’s use of colour is deliberate and experiential, functioning as a carrier of emotion. Lines and forms unfold through an intuitive yet disciplined process, reflecting an honest negotiation between control and spontaneity. His paintings offer a sustained meditation on how experience transforms into visual thought. Pravin Waghmare articulates abstraction as a deeply human, perceptual act, one that translates the unsaid into form with clarity and depth. 

Swapnil Sangole

Swapnil Vilasrao Sangole’s sculptures are rooted in a rigorous engagement with material, memory, and metaphysical inquiry. Working primarily with stone, he positions sculpture as a site where permanence and impermanence coexist, where time is both resisted and inscribed. Drawing deeply from Indian temple architecture, Sangole distils their structural intelligence, symbolism and spiritual gravity into a contemporary language.

His works reveal a careful balance between solidity and openness. Carved voids, layered planes, and architectural motifs evoke sacred spaces while remaining resolutely abstract. Each chisel mark becomes a temporal gesture, an assertion of continuity that acknowledges rupture. The stone is listened to, negotiated with, and allowed to assert its own agency within the final form.

Sangole’s sculptures function as thresholds between the material and the metaphysical, inviting tactile contemplation. They are not objects of passive viewing but embodied experiences that ask the viewer to slow down and reckon with scale, weight, and silence. In expanding his practice toward collaborative and community-based projects, Sangole further opens it up to collective memory and shared authorship. Ultimately, his work honours the sacred while confronting contemporary realities. Through restraint, precision, and conceptual clarity, Swapnil Sangole affirms sculpture’s enduring capacity to witness, question, and heal.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni : Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  : Director – Magnifique Décor and Mangal Movements Mumbai

https://www.youtube.com/shorts/CdOI9KaplkQ

 

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery

 

 

From: 23^rd to 29^th December 2025

“CHITTADARSHANI”

An Art Exhibition by Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole

VENUE:

Jehangir Art Gallery

Auditorium Hall

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Dhiraj Hadole 

Dhiraj Hadole’s work enters the lineage of geometric abstraction not through utopian rigidity or formal bravado, but through a quieter recalibration of what geometry can contain. Hadole belongs to a reflective generation that allows structure to coexist with memory, affect, and care.

His compositions echo the discipline of hard-edge abstraction, yet resist its doctrinaire coolness. The planes feel inhabited rather than imposed; edges meet without aggression, and colour operates as mood. Geometry here is closer to a psychological modulation than an optical one. Reduction does not erase feeling, it distils it. Repetition becomes attention, not control.

Materially, Hadole’s practice departs from modernist purity. The stitched, layered surfaces introduce a tactile memory aligned with domestic knowledge and inherited labour. Quilt-like constructions suggest an indigenous abstraction shaped by patience, repair, and assembly, without slipping into literal craft reference. Cultural specificity is absorbed ethically, not illustrated.

These works propose equilibrium: that intimacy can be measured. In this restraint lies their quiet radicalism. Dhiraj Hadole proves that stability is not the enemy of depth, that precision can remain soft. These are paintings that behave like shelters, steady, composed, and rewarding to those willing to slow down and meet them on their own terms.

Pravin Waghmare

Pravin Waghmare’s art practice emerges from an acute attentiveness to the visual and emotional residues of everyday life. Forms, colours, textures, and fleeting sensations are not treated as passive observations but as active forces that impress themselves upon the artist’s inner self. From this silent accumulation of experience, Waghmare constructs a language of abstraction that is grounded firmly in lived reality.

Although his works appear abstract, they are anchored in the rhythms of the visible world, its pauses, frictions, and reverberations. His surfaces carry a sense of return and response: every encounter, whether with nature, society, or the ordinary mechanics of daily existence, rebounds into the pictorial field. This cyclical exchange lends his compositions a quiet intensity, where colour blocks, fractured planes, and layered textures behave like echoes of perception rather than representations of objects.

Waghmare’s use of colour is deliberate and experiential, functioning as a carrier of emotion. Lines and forms unfold through an intuitive yet disciplined process, reflecting an honest negotiation between control and spontaneity. His paintings offer a sustained meditation on how experience transforms into visual thought. Pravin Waghmare articulates abstraction as a deeply human, perceptual act, one that translates the unsaid into form with clarity and depth. 

Swapnil Sangole

Swapnil Vilasrao Sangole’s sculptures are rooted in a rigorous engagement with material, memory, and metaphysical inquiry. Working primarily with stone, he positions sculpture as a site where permanence and impermanence coexist, where time is both resisted and inscribed. Drawing deeply from Indian temple architecture, Sangole distils their structural intelligence, symbolism and spiritual gravity into a contemporary language.

His works reveal a careful balance between solidity and openness. Carved voids, layered planes, and architectural motifs evoke sacred spaces while remaining resolutely abstract. Each chisel mark becomes a temporal gesture, an assertion of continuity that acknowledges rupture. The stone is listened to, negotiated with, and allowed to assert its own agency within the final form.

Sangole’s sculptures function as thresholds between the material and the metaphysical, inviting tactile contemplation. They are not objects of passive viewing but embodied experiences that ask the viewer to slow down and reckon with scale, weight, and silence. In expanding his practice toward collaborative and community-based projects, Sangole further opens it up to collective memory and shared authorship. Ultimately, his work honours the sacred while confronting contemporary realities. Through restraint, precision, and conceptual clarity, Swapnil Sangole affirms sculpture’s enduring capacity to witness, question, and heal.

This show was inaugurated on 23rd December 2025 by Honourable Guests –

Adv. Dr. Kirti Kulkarni : Chief Legal Advisor, MAHAGENCO, Special PP, Bombay High COURT, CLA, MSETCL, Ministry of Energy, Govt of Maharashtra  A Panel Adv. MSEB Holding Co. Ltd. Manager Legal, NFDC, Ministry of Information & Broadcasting, Govt. of India, Member, Consumer Court, Mumbai. Asst. Govt Pleader, Writ Cell, Bombay High Court, Mumbai,

Mr. Madhukar Wanjari – Eminent Sculptor

Dr. Narendra Borlepwar – Founder President Aum the Global Art Centre and Aarey Museum, Mumbai,

Amit Shah  : Director – Magnifique Décor and Mangal Movements Mumbai

https://www.youtube.com/shorts/CdOI9KaplkQ

 

“CHITTADARSHANI” An Art Exhibition By Dhiraj Hadole, Pravin Waghmare, Swapnil Sangole At Jehangir Art Gallery