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Irfan Channa’s graphite artworks provide a direct semblance to the lyricism of poetry and fineness of a visual artist. For him, poetry becomes a medium through which he revisits his spatial memories before translating them onto paper, a process that is akin to the summoning of music but, with the strokes of a pencil. 

In his recent series, Nilanjan Das assumes the role of an urban planner, redefining and rectifying public spaces into aligning them with acceptable standards of morality. His works compel the viewers to re-look their surroundings, and identify the intangible markers of public surveillance hidden in plain sight. 

These artists deploy a wide range of visual languages- from a descriptive narrative to the emphasis on a solitary object, which reflects their inherited discourse at various levels. What binds them together is their detailed visual vocabulary - a microscopic view of our life and relationships- capturing the minute pits and fissures of our surroundings. A re- interpretation of our cultural values, political concerns, social ethos, personal dreams and fears in a contemporary context.