When I visited ‘The Mini Prints Art Fair’, hosted by Siddhartha Art Gallery, I observed a vibrant celebration of contemporary Nepali art showcasing talented artists. The exhibition features 200 intricate mini-prints using etching, woodcut, and embossing techniques.

The fair offers diverse artistic interpretations with works ranging from creations such as ‘Unstable II’ by Sujita Maharjan to cultural depictions like ‘Ganapati Bappa’ by Seema Sharma Shah. Delicately crafted pieces encapsulate themes of tradition, identity, and imagination. This fair not only highlights the technical expertise of Nepali artists but also the evolving narrative of contemporary art in the region. Rustom Mody, country director of the British Council Nepal, inaugurated the event, emphasising the fair’s cultural significance. Visitors will have an immersive experience of vibrant stories told through a small-scale yet impactful medium.

The exhibition, organised by Printmaking Nepal, highlights the organisation’s dedication to nurturing the art of printmaking among the younger generation. Focusing on education and creativity, the studio conducts workshops to equip aspiring artists with the skills and confidence to pursue their passions. Over the years, they have collaborated with 100 artists, blending the talents of emerging graduates and seasoned professionals. Their primary aim is to foster collaboration between new and established artists, creating a learning environment based on mentorship and experience-sharing.

Uma Shankar Shah, one of the founding members of Printmaking Nepal, wants to make print art more accessible by highlighting its affordability. With prices starting from Rs3,000, Shah hopes audiences will embrace Printmaking Nepal’s message: “Art can be affordable and accessible, allowing common people to own and enjoy it without spending a fortune.”

He discussed his artwork titled ‘Ramayan’, inspired by his roots in Janakpur. Having previously worked on series like ‘Roti-Beti’, he continues exploring the Maithili storytelling style, which he notes is rarely represented in art. Shah incorporates iconic imagery in his print art ‘Ramayan’, such as the main gate doors, the bow, and Sita Swayamvar. Visitors will notice a deliberate contrast in the artwork’s use of colour, with one piece being colourful and another monochrome. This distinction is achieved using natural elements, including soil, to bring depth and authenticity to the pieces.

He says, “Artists face several challenges in pursuing their craft, with the lack of studio space being a primary concern. Thankfully, there are now at least ten studios in Kathmandu where they can work. Another major difficulty is sourcing materials, such as zinc plates and 20x40-inch paper, which are essential for their work. The process is also physically demanding, using acid for etching and handling heavy stones weighing 15-20 kilograms. These stones must be moved repeatedly across tables, requiring careful precision to avoid accidents, which could result in significant setbacks.”

As he walked me through the exhibition, it was evident that it did not follow a central theme. He explained, “All the artists centred their work around a basic question: what can society gain from this? In this exhibition, we focus on the post-postmodernism of the 21st century—not rejecting tradition like postmodernism but delving deeper into cultural roots. As we observe in contemporary society, individuals are increasingly drawn to ancient works, whether through traditional designs in clothing or music. Our focus is on representing societal traditions in a new way.”

When asked what message he had for emerging artists, he said, “As both an artist and organiser, my advice to them is that there are studios and opportunities available to showcase the work you create right after graduation. So, don’t give up on pursuing this field. Take inspiration from artists like David Basnet, who, despite being in the middle of his master’s degree, already has his artwork featured in this exhibition. Opportunities like these prove that talent and dedication can open doors, even early in your career.”

Sujita Maharjan’s series of prints greets visitors, exploring themes of architectural evolution. One of her works critiques the tension between the instability of modern building designs and the rising costs of preserving traditional aesthetics. Another striking piece features a boat with a building. Her print art also incorporates intricate patterns that draw connections to Buddhism, adding a spiritual dimension to her exploration of architecture and culture.

Another artist, Lokchitra, one of Nepal’s well-known traditional ‘paubha’ or ‘thangka’ artists, brings his expertise into printmaking with his work ‘Panchabuddha’. He explained, “This work reflects self-realisation, illustrating the five elements present in our bodies: air, water, fire, earth, and aether. ‘Panchabuddha’ essentially represents us, not external forms of Buddha.”

In another piece titled ‘Atala’—meaning ‘unmovable’—he depicts a falchion with two blades, symbolising cutting through ignorance by understanding relative and ultimate truths. His art beautifully merges traditional symbolism with contemporary printmaking techniques.

Similarly, David Basnet’s contributions include the print ‘Blooms of Thanksgiving’, inspired by the Christmas season, his gardener father, and his love for plants. The blooming cactus featured in his artwork reflects these personal connections. He explained, “Another piece, ‘Through the Bamboos’, was inspired by Nepal’s recent floods. After learning that bamboo helps prevent soil erosion, I created this artwork to highlight its environmental significance.”

Basnet’s third work, ‘Old Cycle’, evokes nostalgia for his childhood memories of cycling in Kathmandu. Another of his prints depicts clock hands obstructed by vines but surrounded by blooming flowers. “Even during moments of obstruction, beauty can still emerge,” Basnet shared.

Umesh Shah, primarily a painter, shared that he found printmaking interesting through the workshop. His work mainly incorporates Mithila elements inspired by Bastar Art and folk art. His piece ‘Plantation’ reflects his experience living in the Tarai region, contrasting past greenery with current deforestation. Through this, Shah urges for reforestation and better land utilisation. Another of his prints portrays the dedication and hard work of labourers, despite their insufficient wages, using tribal imagery to emphasise their resilience and struggle.

Each artist brings a unique perspective, blending personal stories, cultural heritage, and social commentary.

_____

The Mini Prints Art Fair

When: Until January 15

Where: Siddhartha Art Gallery, Babermahal Revisited

Time: Sunday to Friday: 11:00 am to 5:00 pm, Saturday: 12 noon to 5 pm

Entry: Free