This is an archive article published on October 18, 2021

Artists Sunanda Khajuria and Gouri Vemula navigate liminal spaces through their works

As the two artists share space in the exhibition appropriately titled “Liminal Worlds”, viewers encounter varied elements and iconographies that seem to come together to tell stories of our times.

Sunanda Khajuria, Gouri Vemula, art exhibition If Gouri Vemula populates her works with humans and beasts, Sunanda Khajuria’s renditions borrow from Indian and Chinese traditional iconography. (Photo: PR handout)

At first glance, it seems that little is common between artist Sunanda Khajuria’s vibrant canvases and Gouri Vemula’s monochromatic pen and ink drawings on display at Art Heritage gallery in Delhi, but gallerist Tariq Allana notes how both are navigating liminal spaces and transient dream-like worlds. “Both of them are addressing the surreal world — between the real and the unreal,” says Allana.

As the two artists share space in the exhibition appropriately titled “Liminal Worlds”, viewers encounter varied elements and iconographies that seem to come together to tell stories of our times. If Gouri Vemula populates her works with humans and beasts, Khajuria’s renditions borrow from Indian and Chinese traditional iconography. The numerous shades of the much discussed and conflicted relationship between man and nature become visible.

Gouri Vemula, Gouri Vemula artworks, Gouri Vemula exhibition Hyderabad-based Vemula’s surreal pen and ink drawings are populated with mythic figures of gods and goddesses, animals and humans.

Even as thoughts turn to the present unprecedented times and the global pandemic that has altered lives, we are told that when most thought Covid was a distant virus limited to China, Khajuria was at ground zero in Wuhan, considering catching a flight back home. Pursuing a doctoral study at the Wuhan University of Technology in China (focusing on the challenges, present situation and significance of Asian contemporary women artists in the present era), she left the city on January 31, 2020, on the first evacuation flight for Indian students by the Indian government.

Influenced by Chinese traditional paintings, her works on display at the gallery also depict her close relationship with nature. Floating on her canvases are winged birds, fish and sheep that she describes as “talismans imbued with mysterious symbolic meaning”. If the paper work In the Waiting Room (2015) has a woman interacting with a bird, in The End and the Beginning we see a masked man (2021) in deep thought. “There are two types of world for every human being. One is the outer world, and the other is the inner world. There is a world outside of us, and there is a world inside of us. Both are very different and are like mirror images of each other. The inner world is everything that happens in our minds, such as our thoughts, emotions, feelings, beliefs, etc. What you see in my work is my artistic and creative inner world. You can definitely say that these two are influenced by each other from time to time. My artwork reflects the inspiration from my inner world and personal meaning of the object or thoughts, which is completely different from the outer world or physical world,” she says.

Sunanda Khajuria, Sunanda Khajuria artworks, Sunanda Khajuria news Floating on Sunanda Khajuria’s canvases are winged birds, fish and sheep that she describes as “talismans imbued with mysterious symbolic meaning”.

Hyderabad-based Vemula’s surreal pen and ink drawings are populated with mythic figures of gods and goddesses, animals and humans. She draws inspiration from the deep forests and conjures a fantasy world where nature and urban spaces as well as the real and the imagined coexist. In another series, the zodiac signs act as a point of departure, exploring varied elements and associated connotations. The post-graduate in printmaking from Central University, Hyderabad, also draws from her experiences of growing up in Dharwad and Hubli. A note on the exhibition reads: “Gouri draws from indigenous classical and popular traditions of Indian iconography, creating imagined landscapes where gods, humans and nature coexist in a tempestuous cosmic play.”

The exhibition is on at Art Heritage Gallery, Delhi, till October 23.

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Vandana Kalra is an art critic and Deputy Associate Editor with The Indian Express. She has spent more than two decades chronicling arts, culture and everyday life, with modern and contemporary art at the heart of her practice. With a sustained engagement in the arts and a deep understanding of India’s cultural ecosystem, she is regarded as a distinctive and authoritative voice in contemporary art journalism in India. Vandana Kalra's career has unfolded in step with the shifting contours of India’s cultural landscape, from the rise of the Indian art market to the growing prominence of global biennales and fairs. Closely tracking its ebbs and surges, she reports from studios, galleries, museums and exhibition spaces and has covered major Indian and international art fairs, museum exhibitions and biennales, including the Venice Biennale, Kochi-Muziris Biennale, Documenta, Islamic Arts Biennale. She has also been invited to cover landmark moments in modern Indian art, including SH Raza’s exhibition at the Centre Pompidou in Paris and the opening of the MF Husain Museum in Doha, reflecting her long engagement with the legacies of India’s modern masters. Alongside her writing, she applies a keen editorial sensibility, shaping and editing art and cultural coverage into informed, cohesive narratives. Through incisive features, interviews and critical reviews, she brings clarity to complex artistic conversations, foregrounding questions of process, patronage, craft, identity and cultural memory. The Global Art Circuit: She provides extensive coverage of major events like the Kochi-Muziris Biennale, Serendipity Arts Festival, and high-profile international auctions. Artist Spotlights: She writes in-depth features on modern masters (like M.F. Husain) and contemporary performance artists (like Marina Abramović). Art and Labor: A recurring theme in her writing is how art reflects the lives of the marginalized, including migrants, farmers, and labourers. Recent Notable Articles (Late 2025) Her recent portfolio is dominated by the coverage of the 2025 art season in India: 1. Kochi-Muziris Biennale & Serendipity Arts Festival "At Serendipity Arts Festival, a 'Shark Tank' of sorts for art and crafts startups" (Dec 20, 2025): On how a new incubator is helping artisans pitch products to investors. "Artist Birender Yadav's work gives voice to the migrant self" (Dec 17, 2025): A profile of an artist whose decade-long practice focuses on brick kiln workers. "At Kochi-Muziris Biennale, a farmer’s son from Patiala uses his art to draw attention to Delhi’s polluted air" (Dec 16, 2025). "Kochi Biennale showstopper Marina Abramović, a pioneer in performance art" (Dec 7, 2025): An interview with the world-renowned artist on the power of reinvention. 2. M.F. Husain & Modernism "Inside the new MF Husain Museum in Qatar" (Nov 29, 2025): A three-part series on the opening of Lawh Wa Qalam in Doha, exploring how a 2008 sketch became the architectural core of the museum. "Doha opens Lawh Wa Qalam: Celebrating the modernist's global legacy" (Nov 29, 2025). 3. Art Market & Records "Frida Kahlo sets record for the most expensive work by a female artist" (Nov 21, 2025): On Kahlo's canvas The Dream (The Bed) selling for $54.7 million. "All you need to know about Klimt’s canvas that is now the most expensive modern artwork" (Nov 19, 2025). "What’s special about a $12.1 million gold toilet?" (Nov 19, 2025): A quirky look at a flushable 18-karat gold artwork. 4. Art Education & History "Art as play: How process-driven activities are changing the way children learn art in India" (Nov 23, 2025). "A glimpse of Goa's layered history at Serendipity Arts Festival" (Dec 9, 2025): Exploring historical landmarks as venues for contemporary art. Signature Beats Vandana is known for her investigative approach to the art economy, having recently written about "Who funds the Kochi-Muziris Biennale?" (Dec 11, 2025), detailing the role of "Platinum Benefactors." She also explores the spiritual and geometric aspects of art, as seen in her retrospective on artist Akkitham Narayanan and the history of the Cholamandal Artists' Village (Nov 22, 2025). ... Read More


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