Pritam Das

Pritam Das is an artist from Singur, currently living and working between Singur and Santiniketan in West Bengal. He has an MFA in Painting from Kala Bhavana, Visva Bharati University, Santiniketan, and a BFA in Painting from the College of Art & Design, University of Burdwan, both in West Bengal. His practice is rooted in the socio-political and ecological realities of Singur, which has been carrying the after-effects of forced industrialization and the Singur land movement for nearly twenty years. The land acquisition and consequent impacts of political conflict and climate crisis forms his artistic inquiry. He explores how these conditions have left long-lasting impacts on ecology, human-land relationships, memory, and identity.

Through site-specific engagements, drawings, videos, and material explorations, he addresses fragmented landscapes, and everyday sites of systemic socio-political oppression and ecological fragility. His work imagines interactive spaces formed through tools, objects, memories, and dialogues that intersect across sites. These foreground tensions between individuals, political disillusionment, and mechanisms of ownership submerged within space, allowing multimodal narratives to intersect, converse, and move toward an interdisciplinary breadth of practice. Pritam’s research-based process engages oral histories, archival traces, and everyday objects, recontextualized through multiple visual languages. This continuous translation helps to rethink landscape as a post-truth phenomenon accumulating alternative narratives, extending memory across spaces, and revealing their parallels and contradictions.

Sanyukta Kudtarkar

Sanyukta Kudtarkar is a painter from Sawantwadi, Maharashtra. Born in Goa, she currently practices in Vadodara, Gujarat. Sanyukta has completed her Master’s in Visual Art from MSU, Vadodara in 2025, and has a Bachelor’s from Sir JJ School of Art, Mumbai. Her work speaks about presence and spatial relations, displacement and disappearance, and often involves working with her own family archives, researching the questions of identity, belonging and survival.

Rooting her process in the physical act of painting, she transforms digital stills into textured, layered imageries. Portrait and figurative painting have always been her deep interests. When painting people, she reflects on the images projected through the screen. In an age where digital connections often replace physical presence, her work explores the tension between intimacy and distance inherent in virtual interactions. Her practice often looks into the family dynamics and her immediate surroundings. Her practice, majorly based in oil paint, also engages with gouache, mixed media on raw cloth and video art.

Sanyukta’s work is built from memories, captured moments and the exploration of the local, in a way, mapping the personal, be it in aesthetics or the inner circle of the family or close friends. When looking into personal and collective history and memories, her paintings acknowledge the virtual reality that has entered our daily lives.

Samudra Gogoi

Samudra Gogoi has completed his Bachelor’s in Design (Ceramic and Glass) from Kala Bhavana, Visva- Bharati University, and his Master’s from the Department of Art, Media and Performance at Shiv Nadar Institute of Eminence. His practice moves across video games, world-building, Human- Computer Interaction (HCI), narrative experiments, prints, drawings, text, ceramics, and glass.

His current interests explore death studies, belief systems, societies and ecology, and the ways these fields shape relationships between bodies, environments, and cultural imaginaries. He constantly engages with the thought of “A Body Not Decomposing.” It lingers as both metaphor and condition, reflecting a world where human-made systems built in pursuit of immortal projects interrupt the natural cycles of life, death, and decay. Emerging from “Immense Passage 2024 “, this project extends questions first explored through Zibon, a drop of water navigating the subterranean spaces between the living and the dead. That earlier work opened a liminal terrain shaped by memory, myth, and matter spaces where transformation and dissolution coexist. Building from this, “A Body Not Decomposing” considers how ecological thought, interactive narrative, and world- building can articulate the paradox of a species seeking continuity while eroding the cycles that make life possible. It reflects on what it means to inhabit a world where even decomposition, nature’s quiet, essential form of renewal, has been interrupted, and asks how we might reimagine our relationship to death, decay, and the porous boundaries between bodies and the environments they shape.