Rooted in the understanding that collecting constitutes both a reflective and speculative act, this edition of Young Collectors Weekend Global foregrounds the agency of the collector as an active interlocutor in the discursive life of art. It seeks to cultivate a new generation of patrons who approach collecting not merely as the accumulation of objects, but as a meaningful engagement with narrative, memory, and cultural responsibility.

Art here is not decorative—it is durational, relational, and transformative.

The exhibition privileges intimacy and immersion, offering an encounter that invites viewers into the material and conceptual ecosystems that inform each work, fostering a direct, dialogic space between practice and patronage.

Bringing together a constellation of contemporary artists whose practices span sculptural interventions, miniature traditions, textile cartographies, amongst other themes. Collectively, they assemble a visual ecology that is formally diverse yet thematically resonant—grappling with the complexities of identity, ecology, gender, labour, and postcolonial legacies.

Harsha Durugadda’s wood wall sculpture challenges perception and embodied interaction, while Richa Arya repurposes industrial scrap into feminist-driven installations that resist traditional sculptural hierarchies. Sareena Khemka’s installation-based practice probes the entropic tension between transformation and decay, echoing the affective materiality also explored in Mansie Shah’s ceramic and paper-based inquiries into silence and form of objects. Megha Madan, by contrast, folds grief and memory into fragile, urban narratives rendered through layered paper media.

Textile-based practices of Hansika Sharma maps interiority through hand-embroidered indigo landscapes, while Raka Panda weaves folk traditions into contemporary expressions of cultural memory. Aninda Varma merges textile and ceramic to trace intergenerational legacies, and Zarrin Fatima Shamsi’s delicate printmaking invokes memory, femininity, and fragility through a diasporic lens. Ahalya Rajendran—represented here through both her Kerala-rooted watercolours and evocative Baroda-based practice—renders environmental and emotional terrains with poetic precision.

Within painterly and miniature idioms, artist Divya Pamnani reimagine Indian aesthetics through marine-inspired abstraction, and Rajnish Channesh fuses traditional miniature techniques with incisive social critique. Amjum Rizvie entwines Persian and Mughal miniature influences with mythopoetic and socio-political narratives, while Rewati Shahani interrogates colonial cartographies through ceramic and archival forms.

Other artists draw from intersections of ecology and metaphysics: KP Pradeep Kumar’s mixed-media paintings highlight interdependence and ecological fragility, while Anni Kumari’s visual language integrates mathematics and metaphysical order into dynamic geometries. Meera’s sculptural transformations of leather invoke memory, emotion, and bodily presence, allowing craft to emerge as a quiet, powerful language of interior life.
These practices, though varied in form and method, are bound by a shared refusal of singular narratives. They resist inherited aesthetic canons and propose new cartographies of meaning—locating belonging in both ancestral memory and speculative futures.

In this light, Young Collectors Weekend Global Seventh Edition is not simply a curated exhibition; it is a call to action. It reimagines collecting as an ethical practice, a form of cultural stewardship, and a mode of relational knowledge-making. As global economies of art and visibility continue to shift, the platform affirms that to collect is not only to acquire—but to witness, to sustain, and to inscribe oneself within the ever-evolving matrix of contemporary art.