Mukesh Sharma

Mukesh Sharma

artist bio

Mukesh Sharma was born in 1974 and raised in Rajasthan, India. He gained his degree in Painting in 1998 from the Rajasthan School of Art, Jaipur, and his Masters in Printmaking at the Faculty of Fine Arts, MS University of Baroda. On graduating in Baroda in 1998 he continued his print making journey at the graphic studio, Jawahar Kala Kendra, Jaipur, and pursued his art practice where his works displayed the intersection of painting, printmaking and large scale sculpture installations, often exploring the complex dynamics of the human and environment relationship and bringing forth the visual richness and intensity of the desert state.

Mukesh conducted his first solo show exhibition, of multiple prints, at the Hall of the Faculty of Fine Arts MS University of Baroda, and has subsequently had numerous exhibitions in India, Australia, Hong Kong, Korea, Italy, Mexico, Singapore, USA and Canada. Recently he was invited to the Venice Architectural Biennale, and has collaborated with Neemarana Hotels on a bespoke room called ‘Mukesh Mahal’ and his works were presented at the re-opening of the Bihar Museum in Patna. His works have gained numerous awards and are held in both public and private collections worldwide. He currently lives and works in New Delhi, India.

artist statement

I explore across media, the blurred boundaries of imagined realities, mythologies and technologies. My current work takes its cue from ‘The Infinite Monkey Theorem’ which states that a monkey hitting keys at random on a keyboard for an infinite amount of time could produce texts, such as the complete works of Shakespeare. Keyboard motifs run through a body of my work, questioning the effect of technology on the present human condition. My current series, inspired by the ‘Superflats’ of Takashi Murukami, explores this brave new world, using aesthetics of the Indian artistic tradition, and earlier influences from Rajasthan such as block printing and miniatures to contemporary observations of the Indian urban reality of construction workers around the debris of technological waste, and the rural reality of conflicting material gain and plastic development. The works elicit engagement between symbolism and object hood, and reference polarities between a perceived promised land and the denial of a better quality of life. I leave questions through my works such as my recent installation ‘Nagraj,’ the king of snakes, ‘PK-Man & Superman’ an attempt to demonstrate the cultural relevance of these characters and stories in our ordinary lives and my painting ‘Samudra Manthan,’ the mythological churning of the ocean, as to whether this new age nectar is leading to fulfilment or is there a reptilian brain, a robot or Nietzsche’s Superman behind today’s world.