Artist Atul Dodiya has built a four-decade-long practice shaped as much by the streets of DK Wadi in Mumbai as by his formative years in Paris. Born to a family that migrated from Kathiawar, Dodiya grew up in a neighbourhood where early encouragement—from friends, neighbours, and family—cemented his decision to become a painter. His time at the École des Beaux-Arts in Paris marked a turning point, expanding his engagement with Indian modernism and sharpening his distinct visual language. Over the years, Dodiya has woven together references from cinema, politics, mythology, and everyday urban life, often inflected with wit, irony, and a surreal sensibility. Today, his work continues to draw from enduring fascinations—particularly nature and the human face—while inviting viewers into narratives designed to surprise and provoke in equal measure.
The artist speaks to Robb Report India about the forces that shaped him, the themes that continue to fascinate him, and more.
Robb Report India (RRI): How did your early years in DK Wadi shape your artworks?
Atul Dodiya (AD): My early years in the Wadi was full of excitement. From the early days onwards I was clear that I want to be a painter. I would share my work with neighbours and friends. My friends and family have always encouraged me.
RRI: Coming from a family that migrated from Kathiawar to Bombay (now Mumbai), how did ideas of migration, identity, and belonging seep into your work?
AD: This never occurred to me since my siblings and I were born in Bombay (now Mumbai). We used to go to Kathiawar during our school vacations. Even though we enjoyed our time during the trip, we always wanted to be back in Bombay.
RRI: How did your time in Paris shift your relationship with Indian modernism and your own voice as an artist?
AD: Paris was a major influence. It gave me immense freedom and thoughts that shaped my way of thinking for the coming years.
RRI: How do you decide which cultural, political, or personal references to bring together in a single work?
AD: [When you live] in a country like India, all the references appear simultaneously. I would take it as one experience rather than the separate references.
RRI: Humour, irony, and surreal elements often appear in your works. How important is wit as a strategy in addressing serious social or historical subjects?
AD: Humour, wit and irony add twist to the narrative of the work. It engages and provokes the viewer to think further.
RRI: Your art has explored urban life, cinematic culture, mythology, and political events. Are there recurring “themes” that continue to fascinate you?
AD: Nature. I am most fascinated by landscapes. I am also interested in human faces.
RRI: How did you select the pieces you showed at the recent Gateways and Pathways exhibition to commemorate 25 years of Tao Art Gallery?
AD: Since the curatorial note was quite open to try out, I chose one of my constant themes that I thought was suitable.
RRI: If a visitor encounters your work at Tao for the first time, what feeling would you want them to take away?
AD: The viewer should carry a feeling of surprise.
RRI: Having inspired generations of artists, what advice would you give younger practitioners?
AD: There is no substitute to hard work.