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Sana Rezwan is a cultural entrepreneur and patron whose life's work sits at the intersection of art, architecture, and the built environment. As Founding Chairwoman of the Public Arts Trust of India (PATI), she has dedicated herself to democratising access to art and culture, embedding creativity into the fabric of everyday life through artist residencies, public art commissions, education and cross-cultural exchange.
Based in Rajasthan, her flagship initiative, SITE Jodhpur, plans to transform the city's historic venues into a site-responsive contemporary art platform from 2027, drawing artists, designers and thinkers from Jodhpur and beyond. A former patron of the South Asian Modern and Contemporary Art Department at The Metropolitan Museum of Art and a board member of the Art Production Fund, Sana continues to champion experimental practice today as a patron of Khoj Studios in New Delhi.
Her convening power has drawn partnerships with institutions including the British Embassy, the Embassy of France, the Loewe Foundation and Vista Jets, reflecting her singular ability to align global cultural vision with grassroots impact.
Sana Rezwan is part of our RR Art Circle this month, and we ask her to share with us her favourite artists who she thinks are curating the future of Indian contemporary art.
Ayesha Singh's practice sits at the meeting point of architecture, memory, and politics. Working from New Delhi, she builds spatial and research-driven interventions that question how buildings and cities are used to write and often erase history. Her own experience of losing her childhood home shapes this enquiry, pushing her to examine how dominant urban narratives flatten lived experience, particularly the history of women.
Her visual language is wide-ranging and includes sculptural line drawings, scaffold-based public installations, kinetic works, and participatory performances. Trained at the Slade School of Fine Art in London and the School of the Art Institute of Chicago, she has showcased her artwork at the Singapore Biennale, Sculpture by the Sea in Sydney, NMACC Mumbai, and the Kiran Nadar Museum of Art. Residencies include the Van Gogh House in London and the Cross-Hatchings Residency in Perth, and her work sits in the permanent collection of the Partition Museum, Amritsar, a fitting home for an artist so attuned to the politics of place.
Aphra Shemza is a London based multimedia light artist whose work moves between sculpture, installation and participatory practice. Working primarily with light and geometry, she builds immersive pieces treating the viewer as a collaborator. This participatory instinct runs through everything she makes. For Shemza, accessibility in art isn't about simplifying an idea, but about genuinely sharing it.
Her practice draws on cultural heritage and ecology in equal measure, using light as both material and metaphor and as a way of exploring perception, geometry and our shifting relationship with the natural world. This has taken her work into major public collections and institutional collaborations, including the V&A, the National Gallery, the Barbican, the Middlesbrough Institute of Modern Art, the National Museum of Women in the Arts, and the Oslo City Art Collection.
Giovanni Ozzola who lives in the Canary Islands, works across photography, video and sculptural installation, with light as his enduring subject. His images sit between documentary immediacy and painterly artifice, and fog, or sunlight filtering through colourful curtains, recurs as a visual signature. In his three-dimensional works, he even extends this sensitivity to material like neon illuminating found objects from within, marble as a backdrop for video pieces, and slate slabs etched like canvas.
Thematically, Ozzola is preoccupied with infinitude, both geographical and introspective, and his long engagement with India has fed directly into this, linking local narrative with a much wider, global conversation about landscape and time. His solo exhibitions include Octillion at Galleria Continua, San Gimignano, and shows at the Fosun Foundation, Shanghai, and District 6 Museum, Cape Town, while his group exhibitions span the Louis Vuitton Foundation in Paris and the Palazzo Reale in Milan.
Divya Singh, based in New Delhi, works across painting, photography and text, with a practice defined by a poetic engagement with time. Isolation, memory, transience, and spirituality are her recurring themes, often explored through instant film, artist books, and layered alongside her paintings. This material approach gives her work a diaristic, fragmentary quality.
A graduate of the College of Art, New Delhi, and Shiv Nadar University, Singh had her first solo exhibition, Notes for Tomorrow, with Shrine Empire Gallery in 2021, and has since shown at the India Art Fair, ART Mumbai and Artissima in Turin. She has exhibited with Latitude 28 and Space 118.
Her research-based projects, including Tachyon and the ongoing Terminarch/Ender, engage with decolonial imagination and posthuman theory, developed during her residency with Foreign Objekt's Posthuman Lab. She was named to Art India's 30 Under 30 in 2026, having already won Young Artist of the Year at the 2022 India Art Awards.
Bhagyashree Suthar's sculptures and drawings draw on architecture and the geometric patterns found in nature, rendered through an unusual material vocabulary. Beeswax, kite paper, and Rajasthani wasli paper are all examples of it. Her forms hover between the man-made and the biological and are architectural, huge, and yet strangely suspended, as though caught mid-flight before escaping into space. Light and shadow play a central role, giving her utopian, fantastical worlds a meditative stillness.
Born in Jodhpur into a family of furniture-makers, Suthar studied at Maharaja Sayajirao University in Vadodara, where she won a gold medal for her Master's in Visual Arts. Represented by Akara, her solo exhibitions include Fields of Eros and Enchantment and Fractal Future, and her group shows include Let Me Tell You A Story, curated by Luiza Teixeira de Freitas. Her work has been commissioned by the Lalbhai family for the Kasturbhai Lalbhai Museum in Ahmedabad and featured in Phaidon's Vitamin D3 which is today's best in contemporary drawing.
Kaimurai is the artistic name of Bengaluru-based artist Abishek Ganesh Jayashree; the phrase translates from Tamil as "method of hands." His practice centres on natural indigo dye applied to khadi cloth and paper, a process he approaches with the same reverence given to sacred Vibuthi, or holy ash. The application is also ritualistic and repetitive, and his paintings include fluid lines, pours, and circles built up in a rhythm that mirrors devotion as much as design.
A former fashion and textile designer, Kaimurai draws on Carnatic music, the landscape of the Western Ghats, South Indian temple architecture, and his mother's lullabies, translating these influences into abstract, atmospheric markings that sit between the physical and the metaphysical. His work has been shown at the India Art Fair and Art Dubai with gallery Blueprint12, and he completed a residency at the Australian Tapestry Workshop.
Jenjum Gadi's journey from fashion to fine art makes for one of the more distinctive trajectories in Indian contemporary practice. Recognised as one of Arunachal Pradesh's first fashion designers, Gadi built a menswear label rooted in indigenous heritage, drawing, for instance, on the region's Mopin Festival before shifting focus to sculpture during the 2020 pandemic. That shift has proved decisive as he now works in brass and Pichwai-inspired embroidery, crafting sculptural fruit and nature forms that carry the same reverence for material and heritage.
His debut exhibition, Apase - From My Mother's Garden, introduced this new sculptural language, while his second solo show, Transcendent Memories, shown at the India Art Fair and Jodhpur Arts Week, deepened his exploration of heritage, materiality and craftsmanship. Raised in the village of Tirvin and registered with the Fashion Design Council of India, Gadi's practice bridges two disciplines rarely brought together. This proves that craftsmanship, wherever it begins, can find its way into fine art.