…. Curator’s Pen by Prabuddha Ghosh

Prabuddha Dasgupta: Between the Frame and the Unspoken   By Prabuddha Ghosh A photograph by Prabuddha Dasgupta rarely ends at its frame: Look at the sleeping woman. The modest Goan interior. The Buddhist boy moving almost insignificantly through the vastness of Ladakh. The naked body suspended between intimacy and anonymity. A flower, a staircase, a landscape, a face. These are not simply subjects encountered by a camera; they are fragments of larger, unfinished narratives . Dasgupta leaves something deliberately unresolved, allowing the viewer to enter the image rather than merely look at it. This is where his practice becomes particularly significant. He photographs what is visible, but constructs what is not: His visual language operates through subtraction. Black and white, stillness, isolated forms, controlled light, deep shadows and pared-down compositions repeatedly bring the image towards an essential state. His own assertion that the superficial did not interest him, a...

Varsha ’26: A Confluence of Rain, Art, Ideas and Contemporary Expression at Saputara, Gujarat by Prabuddha Ghosh ( As shared in an interview with Standard Post , a leading multi-edition English newspaper ) The National Artists’ Association (NAA) successfully organized its National-Level Art Camp “Varsha ’26” (Rainy Season ’26) from 18 to 20 September 2026 at Surya Art Gallery, Gandharvapur Artists’ Village, Saputara, Dangs, Gujarat . Set against the misty hills, monsoon landscape and refreshing atmosphere of Saputara, the three-day camp brought together nearly 20 artists from 10 cities across eight Indian states , creating an engaging platform for artistic exchange, experimentation and dialogue. The camp was curated by senior visual artist and curator Atul Padia of Baroda and Prabuddha Ghosh of Pune . While the broad conceptual reference was the rainy season , the participating artists were encouraged to retain their individual artistic languages and expressions rather than remain s...

Krishna, Gokul-Ashtami and the Neo-Tantric Aesthetic by Prabuddha Ghosh This is the Painting by Prabuddha Ghosh. It's actually a Tantric Manifestation of Lord Krishna (ShrinathJi) Central Deity : It portrays a multi-armed tantric visualization of Lord Shrinathji (a manifestation of Lord Krishna ). Cosmic Iconography : The deity stands on a lotus flower within sacred geometric yantras. Symbolic Details : The background integrates elements like the cosmic galaxy, the alignment of the chakras, and Devanagari seed mantras ( bijaksharas ). Krishna and Gokul-Ashtami , the celebration of his birth, occupy a distinctive place in the Indian imagination—not merely as religious narratives, but as profound metaphors of consciousness, energy and cosmic play. When viewed through the lens of Neo-Tantric abstract art, Krishna can be understood beyond his anthropomorphic form: as a principle of dynamic consciousness , where form emerges from the interaction of energy, rhythm, colour and space. T...