By — Dilip Guha

What if emptiness were not an ending, but an invitation? What if, in the space we called nothing, there existed the possibility of everything? These deceptively simple yet deeply philosophical questions formed the foundation of Main Shunya Hun,   ‘मैं शून्य हूँ, a curated group exhibition by artist and curator Dr Shipra Bhatia, presented through her initiative, Manantar Art, at Lokayat Art Gallery, Hauz Khas, New Delhi, from September 4 to 6, 2026.

The exhibition brought together established and emerging artists, along with the creative participation of neurodiverse children and young creators. More than a conventional display of artworks, Main Shunya Hun evolved into a contemplative space that explored questions of identity, consciousness, transformation, interconnectedness and human experience. At its heart was the concept of Shunya—zero, emptiness and stillness, but also infinite possibility.

The central thought behind the exhibition was expressed through Dr Bhatia’s curatorial philosophy: “Creation is the creator, and the creator is creation.” Rather than presenting Shunya as a fixed symbol with a predetermined interpretation, the exhibition allowed each artist to approach the concept through a personal experience and an individual visual language. For some, Shunya suggested silence or inner stillness; for others, it represented transformation, an inner void or the beginning of creation. It could signify both absence and limitless potential. She explained the concept  ‘मैं शून्य हूँ ‘: “While Shunya is often interpreted as emptiness or nothingness, within the Indian philosophical imagination it signifies something far more expansive: the silence before expression, the space before form, and the infinite potential from which creation itself emerges.”

Like water, Shunya was presented as something that refused permanence. It flowed, adapted and assumed different forms. The artworks reflected this fluidity. Figurative and abstract works, imaginative explorations and experimental expressions came together without being restricted by stylistic uniformity. What connected them was not similarity, but possibility. Each artist began from a different point of experience, yet their works converged around the same philosophical space.

In this sense, the exhibition placed before artists and viewers an open field of creative possibilities and encouraged them to contemplate what Shunya could mean. It was not simply a collection of artworks but an evolving dialogue between the artist, the artwork and the viewer, where interpretation remained open and personal.

An Opening that Connected Art with Social Responsibility

The opening ceremony brought together personalities from the worlds of art, culture, public life and social work. Among the Guests of Honour were senior artist and President Awardee Roop Chand, Ms Rupal Dalal, Managing Director of JD Institute of Fashion Technology,  mask artist  Sanjay Bhola (Dheer), and Ms Madhumita Puri, Founder of the Society of Child Development. The distinguished guest was Padma Shri Dr Chandrakant Pandav, renowned as the Iodine Man of India. The opening established the philosophical foundation of the exhibition and welcomed artists, patrons, collectors, cultural leaders, and guests into the world of Manantar.

Their presence added another dimension to an exhibition that sought to connect artistic achievement with a broader sense of social responsibility. The opening also brought together participating artists, senior artists, collectors, art enthusiasts, interior designers, academicians, wellness experts and members of the wider creative community.

The gathering reflected the exhibition’s larger ambition—to create a space where art could intersect with philosophy, inclusion, social engagement and human experience.

Art as a Language Beyond Words: Young Voices, Distinct Expressions

A particularly meaningful dimension of Main Shunya Hun was the participation of neurodiverse children and young creators. Their presence expanded the exhibition’s understanding of artistic expression, demonstrating that creativity could emerge through different ways of seeing, feeling and communicating. Their works challenged conventional notions of who could create, whose voices could be represented and how art could communicate beyond words. Among others, added another meaningful dimension to the exhibition’s exploration of expression and identity. Participants are:

Awadh Bhatia explored self-expression through colour, patterns and forms. His gentle and meditative nature, along with his interests in music and table tennis, informed an artistic journey marked by curiosity and quiet observation. Through his work, he translated thoughts and feelings into visual expressions in his own distinctive way.

Anmol Labar, a student of Ahtoon International School, explored abstract art through bold colours, expressive gestures and spontaneous forms. His works reflected emotion, movement and creative freedom, with an openness to experimentation allowing ideas to emerge organically. His vibrant compositions transformed feelings and impressions into energetic and deeply personal visual narratives.

Morpheus Nag, who held a diploma from Government College of Art, approached painting with sensitivity, originality and a thoughtful perspective. His artistic language evolved through an exploration of texture, form and composition. Moving beyond the traditional canvas, he also extended his creativity into thoughtfully designed products, bringing art into everyday life.

Nirvaan Idal Tripathi found in drawing and sketching a calming space for focus, imagination and self-expression. His observations of the world around him often became simple yet thoughtful visual expressions. His interests in cricket and films further enriched his imagination, inspiring ideas of movement, stories and characters.

Based in Navi Mumbai, Oasis Mohapatra created vibrant works inspired by music, marathons and everyday experiences. His art reflected rhythm, resilience and perseverance, bringing a sense of energy and movement to his compositions. Through colour and visual storytelling, he transformed everyday impressions into engaging artistic narratives, earning appreciation for the distinctive spirit of his work.

Pratham Bhatnagar, a non-verbal artist from Gurgaon, communicated primarily through colour and painting. For him, art became a powerful medium of expression, confidence and connection. His vibrant compositions offered a deeply personal window into his thoughts and emotions, while also creating a space for exploration and meaningful engagement with others.

Together, these young artists added a deeply human dimension to Main Shunya Hun. Their works demonstrated that art need not always depend on words or conventional forms of communication. Instead, colour, gesture, texture, imagination and instinct could become powerful languages in their own right. Their participation transformed the idea of Shunya into an experience of openness—where different voices could find space, and where every individual expression could become a beginning rather than a limitation.

Their participation also challenged conventional notions of who could create, whose voices could be represented and how artistic expression should be understood. In collaboration with Prabhat and the Society for Child Development, and with CSR support, Manantar Art initiated a programme aimed at creating greater opportunities for recognition and creative expression for neurodiverse children and young creators.

The initiative sought to take art beyond the gallery and position it as a medium of inclusion, identity, confidence and social participation. Through colour, texture, form and instinct, artistic expression offered possibilities that extended beyond the limitations of conventional language.

Art, in this context, did not require every experience to be explained. It simply created a space in which that experience could be seen and felt.

 A Journey from the Outside to the Inside

Dr Bhatia described Main Shunya Hun as a “journey from the outside to the inside.” The participating artists were not restricted by a particular subject or prescribed artistic style. However, they were encouraged to explore circular forms, creating a sense of visual unity across the exhibition.

The circle became more than a compositional element. It emerged as a visual representation of Shunya, symbolising wholeness, continuity, cycles, balance and interconnectedness. With neither a definitive beginning nor an end, the circle provided a natural metaphor for the exhibition’s central philosophical inquiry.

This emphasis on circularity also established a connection with the traditional visual language of Mandala art, in which geometry, repetition, symmetry and balance have long been associated with meditation, introspection and the relationship between the individual and the universe. In Main Shunya Hun, mandala-inspired imagery was not merely decorative. It became a visual vocabulary through which artists explored ideas of order and chaos, individuality and interconnectedness, movement and stillness.

The exhibition consequently created a quiet dialogue between contemporary artistic practices and traditional symbolism. The familiar language of the circle, geometry and repetition acquired new meanings through the individual interpretations of contemporary artists.

A Confluence of Artistic Voices

One of the distinctive strengths of Main Shunya Hun was the diversity of its participating artists. Established practitioners and emerging voices shared the same conceptual platform, bringing together different generations, experiences and approaches to artistic expression.

The exhibition was therefore not defined by a single aesthetic. Instead, it presented a constellation of perspectives connected by one central idea. Moving from one artwork to another, viewers were encouraged not merely to ask, “What am I looking at?” but also to consider what each work made them feel, remember or question.

The artwork thus became a meeting point between artist and viewer, while Shunya became the space in between—a space where personal interpretation and collective experience could coexist.

A Coffee Table Book Preserved the Journey

The exhibition also witnessed the launch of Main Shunya Hun – Manantar Art Collective Coffee Table Book, Edition 1.0. Conceived as more than an exhibition catalogue, the publication served as a visual and archival document of the project’s creative journey. It brought together participating artists, selected artworks, artist stories and the conceptual framework behind the exhibition. In doing so, the publication extended the life of Main Shunya Hun beyond its three-day gallery presentation and preserved the ideas, artistic expressions and conversations that shaped the project.

While the physical exhibition had a defined duration, its questions continued beyond the gallery through the pages of the book.

A Participant’s View: Preeti Singh

Preeti Singh is an educator with a creative background and a deep-rooted passion for visual expression. Formally trained in Fine Arts and Fashion Designing, she has spent more than 12 years nurturing creativity through independent art teaching. Her artistic journey, which began with a passion for art in childhood, has continued through participation in numerous exhibitions, including a recent showcase at the renowned Nicholas Roerich Art Gallery. Her work reflects discipline, continuous learning and a lasting connection with the creative process.

Speaking about her work presented at Main Shunya Hun, Preeti said her painting, titled “Peace,” explored the relationship between inner harmony, spiritual strength and the universe. Drawing inspiration from the five-faced Rudraksha associated with Lord Shiva and the sacred syllable Om, she sought to portray life as one of the universe’s greatest creations.

“The title of my painting is Peace. I have used the five-faced Rudraksha associated with Lord Shiva and the symbol of Om, the cosmic vibration, to express the idea of life as one of the greatest creations of the universe. I believe that peace is the force that connects our soul with the universe. I took this belief as the foundation of my work and tried to translate it into a visual form. The five Rudrakshas placed at the centre represent peace as well as inner strength. The sound of the conch (Shankh) carries a sense of stillness and spiritual resonance, creating a feeling of connection with the universe. Through this painting, I wanted to convey that true peace begins within and connects us to something larger than ourselves.”