The India Art Fair (@indiaartfair) 2025 facade, supported by MASH (@mash_india), is a bold statement on architecture, history, and gender. Designed by Ayesha Singh (@ayeshaxsingh), this 468-foot-long installation challenges the erasure of women’s contributions to India’s built environment. Through fragmented yet powerful imagery, the facade reshapes our understanding of who gets to build history. @umahjacob @jayaasokan 📍 India Art Fair, Feb 6-9 at NSIC Grounds, New Delhi.
The India Art Fair (@indiaartfair) 2025 facade, supported by MASH (@mash_india), is a bold statement on architecture, history, and gender. Designed by Ayesha Singh (@ayeshaxsingh), this 468-foot-long installation challenges the erasure of women’s contributions to India’s built environment. Through fragmented yet powerful imagery, the facade reshapes our understanding of who gets to build history. @umahjacob @jayaasokan 📍 India Art Fair, Feb 6-9 at NSIC Grounds, New Delhi.
The India Art Fair (@indiaartfair) 2025 facade, supported by MASH (@mash_india), is a bold statement on architecture, history, and gender. Designed by Ayesha Singh (@ayeshaxsingh), this 468-foot-long installation challenges the erasure of women’s contributions to India’s built environment. Through fragmented yet powerful imagery, the facade reshapes our understanding of who gets to build history. @umahjacob @jayaasokan 📍 India Art Fair, Feb 6-9 at NSIC Grounds, New Delhi.
The India Art Fair (@indiaartfair) 2025 facade, supported by MASH (@mash_india), is a bold statement on architecture, history, and gender. Designed by Ayesha Singh (@ayeshaxsingh), this 468-foot-long installation challenges the erasure of women’s contributions to India’s built environment. Through fragmented yet powerful imagery, the facade reshapes our understanding of who gets to build history. @umahjacob @jayaasokan 📍 India Art Fair, Feb 6-9 at NSIC Grounds, New Delhi.
The India Art Fair (@indiaartfair) 2025 facade, supported by MASH (@mash_india), is a bold statement on architecture, history, and gender. Designed by Ayesha Singh (@ayeshaxsingh), this 468-foot-long installation challenges the erasure of women’s contributions to India’s built environment. Through fragmented yet powerful imagery, the facade reshapes our understanding of who gets to build history. @umahjacob @jayaasokan 📍 India Art Fair, Feb 6-9 at NSIC Grounds, New Delhi.
is it safe to say that I ‘cooked’ ? #shalinipassi #cooking #collab #cookingvideos #pasta
Dia Mehhta Bhupal’s (@diabhupal) practice consists of constructing life-size sets of familiar yet transitional spaces — waiting rooms, supermarkets, public toilets, or cinemas — crafted with meticulously rolled magazine paper. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty. Her large, iridescent diasec prints are deliberate constructions. It is a layering up of personal experiences into a single frame, she says, but it is also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. These are images of a deliberate and careful construction, sharply infused with a sense of criticality, and narrative potential. Her recent solo exhibitions include SHELF LIFE, GALLERYSKE (2023), In the spaces of hope light grows, Art Intouch (2020), Watch This Space, Pundoles (2019), MIND THE GAP, GALLERYSKE (2016). Group shows include Preview, DTALE ARCHIST (2024), Imagined Documents, Serendipity Arts Festival (2019), and Visions from India, Pizzuti Collection (2017) among others. She has participated in the Yinchuan Biennale, Lyon Biennale and Kochi-Muziris Biennale previously. Mehhta Bhupal lives and works between Hyderabad and Mumbai. @galleryske This work was exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 — Starting at 11 AM 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Dia Mehhta Bhupal’s (@diabhupal) practice consists of constructing life-size sets of familiar yet transitional spaces — waiting rooms, supermarkets, public toilets, or cinemas — crafted with meticulously rolled magazine paper. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty. Her large, iridescent diasec prints are deliberate constructions. It is a layering up of personal experiences into a single frame, she says, but it is also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. These are images of a deliberate and careful construction, sharply infused with a sense of criticality, and narrative potential. Her recent solo exhibitions include SHELF LIFE, GALLERYSKE (2023), In the spaces of hope light grows, Art Intouch (2020), Watch This Space, Pundoles (2019), MIND THE GAP, GALLERYSKE (2016). Group shows include Preview, DTALE ARCHIST (2024), Imagined Documents, Serendipity Arts Festival (2019), and Visions from India, Pizzuti Collection (2017) among others. She has participated in the Yinchuan Biennale, Lyon Biennale and Kochi-Muziris Biennale previously. Mehhta Bhupal lives and works between Hyderabad and Mumbai. @galleryske This work was exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 — Starting at 11 AM 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Dia Mehhta Bhupal’s (@diabhupal) practice consists of constructing life-size sets of familiar yet transitional spaces — waiting rooms, supermarkets, public toilets, or cinemas — crafted with meticulously rolled magazine paper. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty. Her large, iridescent diasec prints are deliberate constructions. It is a layering up of personal experiences into a single frame, she says, but it is also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. These are images of a deliberate and careful construction, sharply infused with a sense of criticality, and narrative potential. Her recent solo exhibitions include SHELF LIFE, GALLERYSKE (2023), In the spaces of hope light grows, Art Intouch (2020), Watch This Space, Pundoles (2019), MIND THE GAP, GALLERYSKE (2016). Group shows include Preview, DTALE ARCHIST (2024), Imagined Documents, Serendipity Arts Festival (2019), and Visions from India, Pizzuti Collection (2017) among others. She has participated in the Yinchuan Biennale, Lyon Biennale and Kochi-Muziris Biennale previously. Mehhta Bhupal lives and works between Hyderabad and Mumbai. @galleryske This work was exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 — Starting at 11 AM 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Dia Mehhta Bhupal’s (@diabhupal) practice consists of constructing life-size sets of familiar yet transitional spaces — waiting rooms, supermarkets, public toilets, or cinemas — crafted with meticulously rolled magazine paper. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty. Her large, iridescent diasec prints are deliberate constructions. It is a layering up of personal experiences into a single frame, she says, but it is also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. These are images of a deliberate and careful construction, sharply infused with a sense of criticality, and narrative potential. Her recent solo exhibitions include SHELF LIFE, GALLERYSKE (2023), In the spaces of hope light grows, Art Intouch (2020), Watch This Space, Pundoles (2019), MIND THE GAP, GALLERYSKE (2016). Group shows include Preview, DTALE ARCHIST (2024), Imagined Documents, Serendipity Arts Festival (2019), and Visions from India, Pizzuti Collection (2017) among others. She has participated in the Yinchuan Biennale, Lyon Biennale and Kochi-Muziris Biennale previously. Mehhta Bhupal lives and works between Hyderabad and Mumbai. @galleryske This work was exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 — Starting at 11 AM 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Dia Mehhta Bhupal’s (@diabhupal) practice consists of constructing life-size sets of familiar yet transitional spaces — waiting rooms, supermarkets, public toilets, or cinemas — crafted with meticulously rolled magazine paper. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty. Her large, iridescent diasec prints are deliberate constructions. It is a layering up of personal experiences into a single frame, she says, but it is also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. These are images of a deliberate and careful construction, sharply infused with a sense of criticality, and narrative potential. Her recent solo exhibitions include SHELF LIFE, GALLERYSKE (2023), In the spaces of hope light grows, Art Intouch (2020), Watch This Space, Pundoles (2019), MIND THE GAP, GALLERYSKE (2016). Group shows include Preview, DTALE ARCHIST (2024), Imagined Documents, Serendipity Arts Festival (2019), and Visions from India, Pizzuti Collection (2017) among others. She has participated in the Yinchuan Biennale, Lyon Biennale and Kochi-Muziris Biennale previously. Mehhta Bhupal lives and works between Hyderabad and Mumbai. @galleryske This work was exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 — Starting at 11 AM 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Dia Mehhta Bhupal’s (@diabhupal) practice consists of constructing life-size sets of familiar yet transitional spaces — waiting rooms, supermarkets, public toilets, or cinemas — crafted with meticulously rolled magazine paper. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty. Her large, iridescent diasec prints are deliberate constructions. It is a layering up of personal experiences into a single frame, she says, but it is also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. These are images of a deliberate and careful construction, sharply infused with a sense of criticality, and narrative potential. Her recent solo exhibitions include SHELF LIFE, GALLERYSKE (2023), In the spaces of hope light grows, Art Intouch (2020), Watch This Space, Pundoles (2019), MIND THE GAP, GALLERYSKE (2016). Group shows include Preview, DTALE ARCHIST (2024), Imagined Documents, Serendipity Arts Festival (2019), and Visions from India, Pizzuti Collection (2017) among others. She has participated in the Yinchuan Biennale, Lyon Biennale and Kochi-Muziris Biennale previously. Mehhta Bhupal lives and works between Hyderabad and Mumbai. @galleryske This work was exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 — Starting at 11 AM 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Tom Vattakuzhy (@tomvattakuzhy) is an Indian painter, printmaker, and illustrator. He earned a bachelor’s degree in printmaking from Santiniketan’s Kala Bhavan in 1996 and masters’ from Maharaja Sayajirao University of Baroda in 1998. He has received several accolades, including the Kerala Lalithakala Akademi Award in 1997 and AIFACS Award in 1997 and 1998. One of his paintings “Death of Gandhi” gained national recognition and was featured on the cover of the Kerala budget in 2020 and fully spread on the front page of one of the leading Malayalam daily in 2023. Vattakuzhy’s paintings explore the twilight zone between the real and the surreal, drawing on subtle tones and light to bridge the two and create a poetic, transcendental, or dreamlike quality. Each piece emerges as a blend of intuitive response and deliberate composition, transforming observed reality with a personal vision that layers mystery and contemplation. Through evocative associations and fragments of memory, Vattakuzhy strives to depict scenes and figures rooted in familiar worlds, where the interplay of light and shadow becomes a symbolic element that invites a sense of the mystical. The paintings often feature figures in quiet, introspective poses, surrounded by minimalist yet symbolic backgrounds that exude a sense of inner calm and spiritual depth. A humanistic perspective runs through the work, reflecting Vattakuzhy’s deep interest in the human condition and the quest for meaning in life. These work were exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Tom Vattakuzhy (@tomvattakuzhy) is an Indian painter, printmaker, and illustrator. He earned a bachelor’s degree in printmaking from Santiniketan’s Kala Bhavan in 1996 and masters’ from Maharaja Sayajirao University of Baroda in 1998. He has received several accolades, including the Kerala Lalithakala Akademi Award in 1997 and AIFACS Award in 1997 and 1998. One of his paintings “Death of Gandhi” gained national recognition and was featured on the cover of the Kerala budget in 2020 and fully spread on the front page of one of the leading Malayalam daily in 2023. Vattakuzhy’s paintings explore the twilight zone between the real and the surreal, drawing on subtle tones and light to bridge the two and create a poetic, transcendental, or dreamlike quality. Each piece emerges as a blend of intuitive response and deliberate composition, transforming observed reality with a personal vision that layers mystery and contemplation. Through evocative associations and fragments of memory, Vattakuzhy strives to depict scenes and figures rooted in familiar worlds, where the interplay of light and shadow becomes a symbolic element that invites a sense of the mystical. The paintings often feature figures in quiet, introspective poses, surrounded by minimalist yet symbolic backgrounds that exude a sense of inner calm and spiritual depth. A humanistic perspective runs through the work, reflecting Vattakuzhy’s deep interest in the human condition and the quest for meaning in life. These work were exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Tom Vattakuzhy (@tomvattakuzhy) is an Indian painter, printmaker, and illustrator. He earned a bachelor’s degree in printmaking from Santiniketan’s Kala Bhavan in 1996 and masters’ from Maharaja Sayajirao University of Baroda in 1998. He has received several accolades, including the Kerala Lalithakala Akademi Award in 1997 and AIFACS Award in 1997 and 1998. One of his paintings “Death of Gandhi” gained national recognition and was featured on the cover of the Kerala budget in 2020 and fully spread on the front page of one of the leading Malayalam daily in 2023. Vattakuzhy’s paintings explore the twilight zone between the real and the surreal, drawing on subtle tones and light to bridge the two and create a poetic, transcendental, or dreamlike quality. Each piece emerges as a blend of intuitive response and deliberate composition, transforming observed reality with a personal vision that layers mystery and contemplation. Through evocative associations and fragments of memory, Vattakuzhy strives to depict scenes and figures rooted in familiar worlds, where the interplay of light and shadow becomes a symbolic element that invites a sense of the mystical. The paintings often feature figures in quiet, introspective poses, surrounded by minimalist yet symbolic backgrounds that exude a sense of inner calm and spiritual depth. A humanistic perspective runs through the work, reflecting Vattakuzhy’s deep interest in the human condition and the quest for meaning in life. These work were exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
Tom Vattakuzhy (@tomvattakuzhy) is an Indian painter, printmaker, and illustrator. He earned a bachelor’s degree in printmaking from Santiniketan’s Kala Bhavan in 1996 and masters’ from Maharaja Sayajirao University of Baroda in 1998. He has received several accolades, including the Kerala Lalithakala Akademi Award in 1997 and AIFACS Award in 1997 and 1998. One of his paintings “Death of Gandhi” gained national recognition and was featured on the cover of the Kerala budget in 2020 and fully spread on the front page of one of the leading Malayalam daily in 2023. Vattakuzhy’s paintings explore the twilight zone between the real and the surreal, drawing on subtle tones and light to bridge the two and create a poetic, transcendental, or dreamlike quality. Each piece emerges as a blend of intuitive response and deliberate composition, transforming observed reality with a personal vision that layers mystery and contemplation. Through evocative associations and fragments of memory, Vattakuzhy strives to depict scenes and figures rooted in familiar worlds, where the interplay of light and shadow becomes a symbolic element that invites a sense of the mystical. The paintings often feature figures in quiet, introspective poses, surrounded by minimalist yet symbolic backgrounds that exude a sense of inner calm and spiritual depth. A humanistic perspective runs through the work, reflecting Vattakuzhy’s deep interest in the human condition and the quest for meaning in life. These work were exhibited at MASH presents, AJIO Luxe Weekend’s (@llwindia) 5th edition! 📅 January 11th & 12th, 2025 📍 Jio World Garden, BKC, Mumbai For more details, visit: www.luxurylifestyleweekend.com
#AGHExclusive Shalini Passi is more than just an art collector—she’s a visionary shaping the cultural landscape of contemporary and modern art. In an exclusive interview with GoodHomes India, she reveals her bold take on art, design and more. Click on the link in bio now for the full interview! @shalini.passi #shalinipassi #shalinipassiartfoundation #artcollector #visionary #contemporaryart #modernart #artanddesign #indiaartfair #artist #artgallery #artcollector #artlovers #artlover #artcommunity #philanthropist
16th Edition of India Art Fair presented in partnership with @bmwindia_official opens today! IAF 2025 facade, designed by the incredible Ayesha Singh (@ayeshaxsingh) and supported by MASH (@mash_india) The facade engages with Ayesha’s ongoing research on five women’s contribution to Indian architecture, in the form of patronage as early as 1000 AD to women architects in our recent past. Challenging their erasure in history, this new work honours their stories, shifting long-perpetuated perspectives towards a reimagining of collective horizons. Tap onto our stories for all the live action. 📍 Join us at India Art Fair, 6-9 February 2025, at NSIC Grounds, Okhla, New Delhi. #IndiaArtFair #IAF2025 #SouthAsianArt #ContemporaryArt #ArtEcosystem #ArtMarket #GlobalArtScene
SVARN, Atelier Ashiesh Shah — India Art Fair 2025 SVARN is a tribute to India’s rich cultural heritage and exceptional craftsmanship. Inspired by the Hindi word for “gold,” it symbolises brilliance beyond the metallic realm. At its core is Svarnabhoomi, a striking map of India crafted from Dhokra cubes, representing a unified yet diverse nation bound by its artisanal legacy. This piece highlights India’s true treasures — its crafts — showcasing the country’s enduring artistic wealth. Suspended midair, the totem’s three-dimensional form casts dynamic shadows, blending tradition with a cubist aesthetic. It also echoes the essence of Sonar Chidiya — the Golden Sparrow, a symbol of India’s past prosperity — aiming to revive and share this legacy globally. With glimmers of gold, copper, silver, and bronze, SVARN reaffirms India as a land of timeless artistry and unparalleled craftsmanship. @ashieshshah @ashieshshahatelier @indiaartfair 📍 Atelier Ashiesh Shah, Booth G03 📅 7–9 Feb, 2025 🗺️ NSIC Exhibition Grounds, Okhla, New Delhi
SVARN, Atelier Ashiesh Shah — India Art Fair 2025 SVARN is a tribute to India’s rich cultural heritage and exceptional craftsmanship. Inspired by the Hindi word for “gold,” it symbolises brilliance beyond the metallic realm. At its core is Svarnabhoomi, a striking map of India crafted from Dhokra cubes, representing a unified yet diverse nation bound by its artisanal legacy. This piece highlights India’s true treasures — its crafts — showcasing the country’s enduring artistic wealth. Suspended midair, the totem’s three-dimensional form casts dynamic shadows, blending tradition with a cubist aesthetic. It also echoes the essence of Sonar Chidiya — the Golden Sparrow, a symbol of India’s past prosperity — aiming to revive and share this legacy globally. With glimmers of gold, copper, silver, and bronze, SVARN reaffirms India as a land of timeless artistry and unparalleled craftsmanship. @ashieshshah @ashieshshahatelier @indiaartfair 📍 Atelier Ashiesh Shah, Booth G03 📅 7–9 Feb, 2025 🗺️ NSIC Exhibition Grounds, Okhla, New Delhi
SVARN, Atelier Ashiesh Shah — India Art Fair 2025 SVARN is a tribute to India’s rich cultural heritage and exceptional craftsmanship. Inspired by the Hindi word for “gold,” it symbolises brilliance beyond the metallic realm. At its core is Svarnabhoomi, a striking map of India crafted from Dhokra cubes, representing a unified yet diverse nation bound by its artisanal legacy. This piece highlights India’s true treasures — its crafts — showcasing the country’s enduring artistic wealth. Suspended midair, the totem’s three-dimensional form casts dynamic shadows, blending tradition with a cubist aesthetic. It also echoes the essence of Sonar Chidiya — the Golden Sparrow, a symbol of India’s past prosperity — aiming to revive and share this legacy globally. With glimmers of gold, copper, silver, and bronze, SVARN reaffirms India as a land of timeless artistry and unparalleled craftsmanship. @ashieshshah @ashieshshahatelier @indiaartfair 📍 Atelier Ashiesh Shah, Booth G03 📅 7–9 Feb, 2025 🗺️ NSIC Exhibition Grounds, Okhla, New Delhi
SVARN, Atelier Ashiesh Shah — India Art Fair 2025 SVARN is a tribute to India’s rich cultural heritage and exceptional craftsmanship. Inspired by the Hindi word for “gold,” it symbolises brilliance beyond the metallic realm. At its core is Svarnabhoomi, a striking map of India crafted from Dhokra cubes, representing a unified yet diverse nation bound by its artisanal legacy. This piece highlights India’s true treasures — its crafts — showcasing the country’s enduring artistic wealth. Suspended midair, the totem’s three-dimensional form casts dynamic shadows, blending tradition with a cubist aesthetic. It also echoes the essence of Sonar Chidiya — the Golden Sparrow, a symbol of India’s past prosperity — aiming to revive and share this legacy globally. With glimmers of gold, copper, silver, and bronze, SVARN reaffirms India as a land of timeless artistry and unparalleled craftsmanship. @ashieshshah @ashieshshahatelier @indiaartfair 📍 Atelier Ashiesh Shah, Booth G03 📅 7–9 Feb, 2025 🗺️ NSIC Exhibition Grounds, Okhla, New Delhi
SVARN, Atelier Ashiesh Shah — India Art Fair 2025 SVARN is a tribute to India’s rich cultural heritage and exceptional craftsmanship. Inspired by the Hindi word for “gold,” it symbolises brilliance beyond the metallic realm. At its core is Svarnabhoomi, a striking map of India crafted from Dhokra cubes, representing a unified yet diverse nation bound by its artisanal legacy. This piece highlights India’s true treasures — its crafts — showcasing the country’s enduring artistic wealth. Suspended midair, the totem’s three-dimensional form casts dynamic shadows, blending tradition with a cubist aesthetic. It also echoes the essence of Sonar Chidiya — the Golden Sparrow, a symbol of India’s past prosperity — aiming to revive and share this legacy globally. With glimmers of gold, copper, silver, and bronze, SVARN reaffirms India as a land of timeless artistry and unparalleled craftsmanship. @ashieshshah @ashieshshahatelier @indiaartfair 📍 Atelier Ashiesh Shah, Booth G03 📅 7–9 Feb, 2025 🗺️ NSIC Exhibition Grounds, Okhla, New Delhi
SVARN, Atelier Ashiesh Shah — India Art Fair 2025 SVARN is a tribute to India’s rich cultural heritage and exceptional craftsmanship. Inspired by the Hindi word for “gold,” it symbolises brilliance beyond the metallic realm. At its core is Svarnabhoomi, a striking map of India crafted from Dhokra cubes, representing a unified yet diverse nation bound by its artisanal legacy. This piece highlights India’s true treasures — its crafts — showcasing the country’s enduring artistic wealth. Suspended midair, the totem’s three-dimensional form casts dynamic shadows, blending tradition with a cubist aesthetic. It also echoes the essence of Sonar Chidiya — the Golden Sparrow, a symbol of India’s past prosperity — aiming to revive and share this legacy globally. With glimmers of gold, copper, silver, and bronze, SVARN reaffirms India as a land of timeless artistry and unparalleled craftsmanship. @ashieshshah @ashieshshahatelier @indiaartfair 📍 Atelier Ashiesh Shah, Booth G03 📅 7–9 Feb, 2025 🗺️ NSIC Exhibition Grounds, Okhla, New Delhi
