In a world saturated with vibrant colours, an exhibit by nine artists takes a different approach, focusing on the delicate interplay of black and white to create a thoughtful visual experience. It explores themes of identity, trauma, cultural shifts, and existential contemplation—proving that emotions, philosophies, and personal narratives do not need vibrant hues to captivate. This minimalist approach challenges traditional art forms, allowing the simplicity of black and white to serve as a powerful language.

The exhibition is rooted in a sentiment expressed by the artist Helen Van Wyk, “Black and white is abstract; it reduces painting to its essence.” This ethos resonates throughout the gallery, where the absence of colour compels the viewer to engage with the rawest truths of the human experience. Without distraction from the vibrancy of colour, every stroke, line, and shadow becomes connected with meaning, narrating stories of pain, resilience, healing, and hope.

Here, black and white are not mere opposites but partners in dialogue. In contrast, they challenge viewers to find meaning, inviting them to notice the often-unnoticed: the subtle rhythm of existence, the unspoken weight of emotions, and the harmony in absence. The exhibition’s diverse works, from traditional art forms to abstract pieces born from personal struggles, encourage reflection on the intersection of culture, identity, and personal expression.

The exhibition begins with Swarnim Shakya’s ‘Pancha Skanda’, a fine-lined piece that blends the beauty of Nepali Paubha painting with spiritual philosophy. Through the strokes of black ink, this work invites viewers to explore the sacred, offering a contemplative space for reflection. In contrast, Sailee Bajracharya’s emotionally raw piece, ‘Trauma’, starkly contrasts Shakya's precision. Created spontaneously using ink wash on creased paper, Bajracharya externalises her turmoil and vulnerability.

The creases in the paper serve as a metaphor for the weight of her emotions, each line and brushstroke reflecting the intensity of her inner world. As the curator, Shanta Nepali, notes, the use of thick brushes and bold lines in Bajracharya's work has become a distinct artistic signature, carried through her exploration of abstract art. In her piece, koi fish; symbols of balance in Japanese and Chinese philosophy—are integrated to represent the yin and yang, the internal balance she seeks amidst the chaos of trauma. The bold statement “My trauma is not for sale,” asserts the work’s message of personal ownership and resilience, rejecting the commodification of suffering.

Next, Niranjan Maharjan’s ‘Silent Rhythm’ series highlights the fading connection between humans and animals, driven by cultural shifts and migration. Maharjan’s work, created during his residency in the Takpa Gallery, features black-and-white sheep, evoking nostalgia and reflection on a rapidly changing world. The artist’s choice to use Nepali paper adds authenticity and local flavour to the work, emphasising the fading traditions of rural Nepali. The series speaks to a larger narrative of loss—loss of cultural practices, loss of connection to nature, and loss of a simpler, more grounded existence.

Arjun Basnet, a third-year student at the Lalit Kala campus, presents ‘Galactic Serenity’, an intricate pen-and-ink depiction of the universe. The title makes the artwork self-explanatory, as the painting depicts an entire universe within another universe, capturing the motion of galaxies. It brings to mind the movie ‘Everything Everywhere All at Once’.

Likewise, those familiar with the Big Bang and Hitchburg can easily connect with his work, as it suggests a black hole, universal origins, and the expansion of existence. For Shanti, the curator, the small dot in the centre of the artwork represents the very origin of the universe.

Kripa Shakya’s ‘Maroon’ series is on the shifting nature of personal identity within the confines of familial roles. The series documents her mother's daily life after marriage, using red and maroon tones to symbolise the sacrifice and self-effacement women often experience in traditional roles. The colour red, historically associated with marriage and sacrifice, plays a significant role in Shakya’s work, which prompts the viewer to reflect on the concept of personal identity being overshadowed by social expectations.

The piece left a lasting impression on me, particularly as I connected it to the scene from the film ‘Laapataa Ladies’, where a woman has forgotten her favourite dish—a metaphor for the loss of self in the face of societal expectations.

In this series, Shakya powerfully highlights how the colour maroon reflects a quiet return to one's identity, an attempt to reclaim desires and personal autonomy. Only four pieces from the ten-part series are displayed, each deeply emotional and layered with meaning.

Suprina Galami’s work revolves around the theme of surrealism, reflecting the chaos of fitting into the fast-paced trends of modern life. Her piece symbolises the disconnection from roots and true self as people strive to fit societal moulds. The central portrait, which could easily be mistaken for a K-pop idol, adds another layer of complexity, suggesting how personal identity becomes influenced by external cultural standards. Galami’s work explores the conflict between personal identity and societal pressure, urging viewers to reflect on the tension between the two.

Another powerful work by Galami portrays the passage of time and the impact of technology on modern life. The watch, a central motif, symbolises the rush of professional life and the stillness of personal life, creating a poignant contrast. Nepali connected with this piece, reflecting on the cycle of rushing through life without truly living in the moment. As I stood before the piece, BTS’s song ‘Forever Young’ lyrics echoed in my mind, resonating with the idea of running in circles, always chasing dreams but never quite catching them.

The exhibition also offers a rare opportunity to see the artwork of mother and daughter displayed side by side. Rabina Bajracharya, mother of artist Sailee Bajracharya, had set aside her artistic pursuits for many years to focus on household duties. However, when Shanti invited her to contribute to the exhibition, she eagerly embraced the opportunity. Rabina’s work, ‘Harmony,’ uses threads as a metaphor for the delicate balance between life’s demands and the pursuit of inner harmony.

Ghalan’s ‘Your Heart Is the Source of Light’ reminds us of the importance of following our hearts. The piece's simplicity conveys the full spectrum of emotions, encouraging viewers to pause and reflect on the deeper truths in life's simplest aspects.

Abhisekh Prajaprati’s ‘Abhiyankar’ invites viewers into a world rich with symbolism. The traditional cotton canvas paired with mohini (lamp black) mesmerises the viewer, while the symbols—the snake, Kalash, and peacock feathers—speak volumes about spirituality and ancient traditions. The work’s sacred nature is further emphasised by the fact that it is not for sale, reinforcing its spiritual and cultural significance.

The exhibition's final piece, Nikon’s pop culture-inspired work, brings a refreshing twist to the monochrome theme. Through skeletal interpretations of various animals, Nikon introduces colour into his otherwise monochromatic designs, offering insight into his unique creative process. Including colour in an otherwise black-and-white piece gives a glimpse into the artist’s intention and journey.

Throughout the exhibition, Nepali's curatorial process shines. The careful placement of each piece guides the viewer on a journey, with each artwork leading naturally to the next. The thoughtful balance of temperature, light, and spatial arrangement enhances the immersive experience, making the exhibition feel cohesive and deeply engaging. As I left the gallery, I was moved by the artistry and the curatorial insight.

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In Shades of Black and White

Where: Chitra Art Space, Lazimpat

When: Till January 28

Time: 11:00 am to 7:00 pm

Entry: Free