Likitha R Jain

Likitha is a multidisciplinary artist with Bachelor’s and Master’s degrees in Visual Arts, both from the Bengaluru School of Visual Arts. Trained initially as a painter, her work has expanded into sculpture, installation, kinetics, and assemblage, rooted in a deep attentiveness to materials, particularly paper pulp and water hyacinth fibre. Her sculptural language draws from her long-standing relationship with found objects, handmade forms, and collage. Her practice is focused on the act of making - slow, layered, and material responsive work. Over the years, this process has moved her from two-dimensional image-making to immersive installation and from static forms to subtle motion. Her works often begin from a fragment: a torn newspaper image, an object found from a bazaar, or a discarded material. These fragments become points of rearrangement, recomposition, and reimagining, allowing forms to emerge intuitively and in dialogue with their surroundings.

A pivotal shift occurred when she began working with water hyacinth, whose fibrous, lightweight, and unexpectedly resilient nature resonated with her experiments with paper. This conscious material choice reflects her commitment to sustainability and aligns with post-humanist ideas that dissolve boundaries between human and non-human agencies. Situated at the intersection of material ecology, post-humanist thought, and movement-based sculptural making, Likitha’s practice is an ongoing attempt to create work where materials are not merely shaped but listened to—where sculpture becomes a site of exchange, responsiveness, and transformation.

Moumita Basak

Moumita is an eco-feminist artist from Bardhaman, West Bengal, with an MFA and BFA in Painting, both from the Govt. College of Art & Craft, Calcutta University. Her practice engages with discarded textiles, embroidery threads, and waste cloth—materials traditionally associated with domestic spaces and women’s labour. Through her work, she reclaims these humble materials, transforming them into potent visual forms that speak to gender inequality and ecological urgency.

Her use of recycled fabrics serves both as a critique of fast fashion and a call for sustainability. By incorporating slow, tactile processes such as hand-stitching and layering, she creates intimate works that act as quiet yet powerful protests. Each piece reflects a deep commitment to material storytelling, where softness and resilience co-exist.

Her practice challenges the undervaluing of women’s work while offering a nuanced perspective on care, memory, and resistance. The resulting works are at once personal and political—introspective gestures that resonate with broader conversations around gender, civil rights and experiences from marginalized gender, caste, and working-class communities and environmental justice. Exploring questions of identity, belonging, and cultural heritage, her practice seeks to locate sustainable materials as a site of contemporary experimentation and revitalization.