Library – Students’ Biennale•4th Edition


The Library documents work across institutions, in acknowledgement of the astonishing range of ideas and potential that students possess. Apart from being a simple directory for reference, it is also seen as a document that bears witness to trying times. It creates possibilities for the ideas contained to find advocacy and a way forward.


Aman Verma
Anish Nandy
Astha Patel
Ganga Narayanan
Mohit Sharma
Rajvi Shah
Sayantan Kundu
Sumaid Pal Singh Bakshi
Vasundhara Arora

Amreen Qamar Choudhary
Ashraf Siddiqui
Digvijay Jadeja
Mansoor Mansoori
Mousumi Karmakar
Satyanarayana Gavara
Sonali Sonam
Sumit Kumar Karn

While the intensity of the shock recedes, the residual effect of the previous year continues to impact us. Many students still remain in their homes in places other than those where their Universities are situated; in towns and villages, several of them with no access to art related facilities or communities. 

Yet even at a time when lockdowns and curfews were still in force in November 2020, there was an overwhelming number that responded to the call for entries for the Students’ Biennale. We found ourselves facing a commitment that exceeded a purely curatorial responsibility, one that compelled us to consider the student body in its entirety as opposed to proceeding with an exclusive focus on specific projects. 

In addition to facilitating those proposals that were feasible, given the constraints, and organizing several workshops and discussions, it was important to map certain tendencies and mindscapes – most of them inflected with aspects of the pandemic and the disastrous consequences of environmental damage – through a survey of all applications before one could arrive at a selective process. This further brought to light the unevenness at the foundations of our institutional superstructure, and problematized the process of selection:  on what basis does one exclude? 

The Compendium documents work across institutions, in acknowledgement of the astonishing range of ideas and potential that students possess. Apart from being a simple directory for reference, it is also seen as a document that bears witness to trying times, and creates possibilities for the ideas contained to find advocacy and a way forward. 

Abhishek Chakraborty

Maharaja Sayajirao University, Vadodara

Decay. 2020. Watercolour on paper. 11” x 14”

I am deeply interested in studying historical architecture and amazed by the grandeur of its multi-layered facades, ornate arches and monumental pillars. I consider it a living entity rather than a mere concrete mass. It possesses a mind and a body, which breathes and endures continuous changes. Thus it is very intriguing to observe the resemblance between elements in architecture and the parts of a human body. The dreary, perishable state of bygone architectural ruins have similarities with the old, decaying state of the human body and this work aims to establish an amalgamation of both.

Abhishikha Tripathi

Kurukshetra University, Haryana

World peace. 2020. Ink on paper. 10” x 14”

The idea of this work came from our current pandemic situation – how the chaos around us is affecting our lives even if we want to resist it. I have tried to show the conflict between inner peace and the noise around me. I have used ballpoint pens to create this drawing because the pandemic made it impossible to collect the colours from my studio.

Ahalya Raj

Maharaja Sayajirao University, Vadodara

I come from a family with an agricultural background. My work mainly features aspects of farming, my personal experiences and the scenes around my village.

Distance to honey. 2020. Acrylic and charcoal on paper
Honey haunt. 2020. Acrylic and charcoal on paper
Untitled. 2020. Acrylic and charcoal on paper

Akash Rajput

Jamia Millia Islamia

One Great Speech – Charlie Chaplin. 2020. Digital

Portrait of Chadwick Boseman. 2020. Digital

Anoushka Bhalla

Maharaja Sayajirao University, Vadodara

Laceration. 2020. Pigment, acrylic and wax on canvas. 72 x 48 inches

Rotting flesh is the ultimate representation of existential fear in man – the incessant desire for life in full knowledge of its futility. Does this mean that desire is in itself futile? ‘Laceration’ is a part of an ongoing series titled ‘Flesh’ through which I try to evoke remembrances of violence, agony and trauma.

Kanika Nagpal

Maharaja Sayajirao University, Vadodara

“Vibration over my House” is about the constant vibration caused due to the working of  machines under my house. 

Vibration over my house. 2020. Mixed media on paper. 7.5” x 8”

“Working under my House 1 and 2” is a series of two works based on different parts of my house and the factory beneath. The workspace of the canvas has been divided in such a way that the upper half represents the house and the lower half represents the factory. A dividing line representing the roof strip of the house conveys the two different lives that amalgamate on a daily basis within the structure.

Working under my house 1. 2020. Acrylic on canvas. 18” x 24”
Working under my house 2. 2020. Acrylic on canvas. 18” x 24”

Khalida Khatun

Maharaja Sayajirao University, Vadodara

Every human journey is equally important and difficult. Each phase of it is coloured by its own mood. I have tried to express a part of my journey and its prevailing mood in this work. 

Journey, depends on my mood 1. 2020. Acid free paper and clay
Journey, depends on my mood 2. 2020. Acid free paper and clay
Journey, depends on my mood 3. 2020. Acid free paper and clay
Journey, depends on my mood 4. 2020. Acid free paper and clay

Khushboo Ajit Kumar

Maharaja Sayajirao University, Vadodara

My work is a visual expression of migration. In my mid-teens, I moved to my current residential country for a safer life. My work is influenced by my experience of living in two worlds – a world of memory and a world of reality. It is personal, but the imagery is created to transcend the self and connect with others. This is expressed through pattern-making, topographical maps/routes, and various everyday objects or elements. I enjoy creating layers of paint on handmade paper using natural colours and vegetable dyes. Dyeing, staining, block printing, tearing and burning, drawing and painting are some of the techniques I use. These various processes culminate in stitching the pieces together, and sometimes tying them with thread and stick to transform a two-dimensional entity into a three-dimensional form. 

Nayanjyoti Barman

Maharaja Sayajirao University, Vadodara

For this project, I created a teaching model which is non-academic. There are no conditions, no discipline that might prevent children from using their creativity in any manner. Children from rural regions are truly close to nature and they are magnificent in a creative way. I have learnt many things from them and vice versa. I noticed that during this lockdown period, kids from farming communities in the neighbourhood were just moving around and wasting their time. I started spending time with them ever since. I came to know how they think, and how strongly grounded they are in a traditional, agrarian way of life. They made several objects that are a familiar part of their surroundings and I later displayed them in many different ways. The project is still ongoing. Engagement with the arts can address social inequality and disadvantage, and create vitality and shared identity.

“Machine men with machine minds and machine hearts! You are not machines, you are not cattle, you are men! You have the love of humanity in your hearts. You don’t hate: only the unloved hate, the unloved and the unnatural. Soldiers, do not fight for slavery, fight for liberty! You the people have the power, the power to create machines, the power to create happiness! You the people have the power to make this life free and beautiful, to make this life a wonderful adventure! Then, in the name of democracy, let us use that power. Let us all unite! Let us fight for a new world, a decent world.”
― Charles Chaplin

I am currently living in Baroda, Gujarat. On the outskirts of the city is a site of industrialization called the GIDC, covering 50 square km and still expanding. I am alarmed at how industries are growing day by day, occupying land and damaging the soil. These concerns are the main content of this project, which is site-specific. I used my studio as a place to express this, making a mechanical structure that gradually covered the whole space. I mapped and projected a video on the work so it changes from one form to another and keeps the machine moving. Algorithms can be an incredible way of visualizing invisible patterns of things and transforming them into poetic motion.

Occupy space. 2020. Cardboard. 20’ x 10’ x 10’
Occupy space. 2020. Cardboard. 20’ x 10’ x 10’

Rishi Mishra

Shiv Nadar University

 ‘It’s the Word Hate’  

In this work on paper, I used a soldering machine to engrave the word “HATE” in running text which looks like barbed wire. I repeated the words “HATE” several times and tied them all together. They have stretched words, but also look like barbed wire. If you observe closely, you can read the word “Hate”. I think that word is so dangerous for us.

It’s the word hate. 2020. Soldering machine engraved on paper. 4’ x 1’ 
It’s the word hate(Detail). 2020. Soldering machine engraved on paper. 4′ x 1′
Lakshman Rekha. 2019. Mixed media on paper. 2’ x 2’

Sanjay Kumar Yadav

Maharaja Sayajirao University, Vadodara

The ‘College’ series is based on events related to my college life and how it has changed me. Whereas earlier I loved being around people, I now like to stay away from them. When we have a problem, people joke about it and broadcast what is said in confidence, much like how social media functions. To avoid all this, we lock ourselves in a room so that people cannot approach us. Because of this, we feel suffocated inside with our problems.

College- 2. 2019. Relief print

Sarita Jaiswal

College of Art, New Delhi

Artists have long been interested in the formal relationship between things. How do objects relate to each other? How do colours, shapes and textures interact? After dabbling in various art forms, what fascinates me the most are found objects. I use a variety of materials such as textiles, jute, and silk, overlapped with drawings. My work is about relationships of different kinds, which I find are mostly dominated by pretentiousness, formality, calculation, incompleteness, and confusion. Misunderstandings often remain unresolved, and we have learned to live with conflicts without the possibility of closure. 

Untitled- I. Sketch on paper with ink and pencil
Untitled- I. Sketch on paper with ink and pencil
Unsorted. Textile installation. 37” x 50”
Untitled- II. 2019-2020. Installation- mixed media on jute. 40” x 47”
Kink. Collage- mixed media on paper. 5’ x 2’
Untitled- III. 2020. Mixed media on paper. 30” x 22”

Shreya Shruti

College of Art, New Delhi

This series called ‘Everyday Me’ works like a daily journal in which the portraits with text carry a phrase, a word, or a question, covered in different layers. I use newspaper cut-outs consisting of texts and cartoons, thereby building a bridge between personal and political thought processes. It allows thinking of the relation between the inner and outer, I and the other; and the horizon where they both meet! The work comprises three series of drawings – Swing, Blink- Blank, and Noise of Silence (each series of drawings has been developed into a Gif separately). These have been developed from drawing self-portraits in ink on paper, as continuous shots. Each of the drawings breaks down to a certain expression, like a swing of the head, a blink, and a scream. They freeze time that occurs between moments, like capturing oneself in the middle of a thought and then observing and questioning those thoughts. Later, as an experiment and an urge to create movement in the drawings, I extended it into an animation.

Everyday Me (Swing). 2019. Mixed media on paper (GIF)
Everyday Me (Noise of Silence). 2019. Mixed media on paper (GIF)
Everyday Me (Blink Blank). 2019. Mixed media on paper (GIF)

Tanvi Srivastava

Shiv Nadar University

This work reflects the judgmental tendencies in our society, where we casually comment, taunt and gossip about each other, giving birth to unnecessary rumours and hypocrisies. I am currently focusing on observing people, their state of mind, their reactions and conversations regarding any third person or issue. Body-shaming is yet another tendency and aspect of these conversations and comments. These type of exchanges mostly happen on public places and roads, so I decided to choose the street beside the market to execute this project.

Untitled. 2020. Site specific art with videography

Vijay Singh Beniwal

Stani Memorial PG College, Jaipur

The title of my painting is ‘Childhood Tractors’. It is part of a series that I am working on, which is also related to memories of my childhood. I used to roam around the house, playing with a wooden tractor, sometimes throwing it in anger –  but it mostly recalls the good times I used to have.

Childhood tractors- 43. 2020. Medium
Childhood tractors- 46. 2020. Woodcut

Book of Portraits

Aman Kumar
Brijesh Kumar
Mohammed Sameer Khan
Shikha Vashisht
Tushti Pundir

Amar Prajapat
Krishna Ghosh
Sayantan Kundu
Stuti Jain

Book of Watercolours- Landscapes

Md. Hussain Azam
Md. Mojamil Khan
Sakshi Chaudhary
Tushti Pundir

Mehrun Nisa
G Rahul
Sanskriti Agarwal


A. Asan

Maharaja Sayajirao University, Vadodara

Anish Nandy

Government College of Fine Arts, Jabalpur

Asavari Gurav

Ashraf Siddiqui

Jamia Millia Islamia University

Rutuja Rajendra Siddam

Maharaja Sayajirao University, Vadodara

Shikha Soni

Maharaja Sayajirao University, Vadodara

Srushti Shah

Shiv Nadar University

Urna Sinha

Maharaja Sayajirao University, Vadodara

Vasudev M Nair

Maharaja Sayajirao University, Vadodara