Aman Aheer
Aman Aheer is a London based painter. Aheer abstracts figures and objects to reflect the fears and anxieties of the unknown and invisible. Borrowing from the dualism of Sufi concepts of seen and unseen, Aheer appropriates symbols culled from everyday life: the bright lights of local kebab shops, the architectural form of the arch. His work depicts covert forces of violence: landmines, drowning, unexploded ordinances, state-sanctioned systems of oppression and their hidden psychological effects–Aheer renders all these hidden threats palpable with his deft brushwork.
Aman Aheer (b. 1992, Canada) lives and works in London, UK. He holds a BFA from Emily Carr University of Art & Design, Canada.
Solo exhibitions include Twin, Chapter 6, Shanghai, China (2024); body double, indigo + madder, London, UK (2022); and Man is Not a Bird, St. Peter’s Church, Kettle’s Yard, Cambridge, UK (2022).
Group exhibitions include Votive, Hypha Studios, London, UK (2024); Item Number, Rajiv Menon Contemporary, Los Angeles, USA (2023); and Hope, Two Rivers Gallery, Prince George, Canada (2022).
Nibha Akireddy
Nibha Akireddy is a Bay Area-raised and San Francisco-based artist who creates compositions that pull from the stories she encounters through her communities and experiences across engineering, art, and daily life. Her dynamic markmaking utilizes maximalist motifs to retell histories.
References to movie posters, music albums, and popular media are overlaid with motifs from the everyday art forms of tattooing, sport, textile, jewelry, and food. She explores history through the art forms that shape our lives, spaces, and tastes, yet are often neglected in fine art spaces. Her work reframes conversations around cultural ownership, appropriation, and separation to ones about fluidity through artistic exchange. She pulls from exoticized aesthetics, traditional South Asian tattooing and movement practices, and histories of food and drink to explore painting as a form of research and storytelling.
Nibha Akireddy (b. 1998, Edison, New Jersey) lives and works in San Francisco, CA.
Solo and Two-person exhibitions include California Fables (Two-person), Rajiv Menon Contemporary, Los Angeles, USA (2025); Subtle Bodies (Two-person), Jonathan Carver Moore, Chicago, USA (2025); and Practice Skin (Solo), Root Division, San Francisco, USA (2024).
Group exhibitions include Unseen Histories: AAPI Voices in Contemporary Art, Karl Art SF, San Francisco, USA (2025); Three Steps of Land Rajiv Menon Contemporary, Los Angeles, CA (2024); and Where Is Your Body, SOMArts, San Francisco, USA (2024).
Shyama Golden
An expert in world-building, Shyama Golden draws from the principles of speculative fiction to envision parallel dimensions populated by a surreal cast of characters. A sense of theatricality pervades throughout her work, which reflects on the nature of social performance and the drama of everyday life.
Shyama Golden (b. 1983, Bryan, TX, USA) lives and works in Los Angeles, USA. She holds a BFA from Texas Tech University, USA. Solo exhibitions include Too Bad, So Sad, Maybe Next Birth, PM/AM Gallery, London, UK (2025); In My Mind, Out My Mind, Harper’s Gallery, New York, USA (2024); Incarnation, Micki Meng/Friends Indeed Gallery, San Francisco, USA (2022).
Group exhibitions include Portals, curated by Donna Honarpisheh, MOCA Arlington, VA, USA (2025); Under The Talking Tree, Curated by Kathy Huang, Kunsthal N, Copenhagen, Denmark (2025); Exhibitionism, Rajiv Menon Contemporary, Los Angeles, USA (2025).
Asif Hoque
Drawing from his Bengali roots and Western classical traditions, Asif Hoque creates paintings that explore the intersections of migration, mythology, and shared human experience. His paintings explore shared cultural heritage while forging new narratives that speak to both personal and communal histories. Gold and terracotta, materials rich in Bengali tradition, appear throughout his work, symbolizing heritage, resilience, and the sacred ties that bind people together. Diverse references, from the Baroque drama of Peter Paul Rubens and the intricate storytelling of South Asian miniature painting, yield rich layered symbolisms that transcend cultures and generations. Recent works turn toward the natural world as a space of reflection and connection. Inspired by transcendentalist artists like Agnes Pelton, Hoque wields light as a universal language—one that links time, place, and human experience. Whether through mythological figures or fluid landscapes, his work invites viewers into a shared visual history, reminding us that storytelling, like community, is at once immanent and universal.
Asif Hoque (b. 1991; Rome, Italy) lives and works in New York, USA. He holds a BFA from Pratt Institute, New York City, USA. Solo exhibitions include Red Curls, Taymour Grahne Projects, London, UK (2023); Golden Boy, Half Gallery, New York, USA (2022); and Before Sunrise, Yossi Milo Gallery, New York, USA (2022); Terracotta, Mindy Solomon Gallery, Miami, USA (2021); The American Lover Boy, Taymour Grahne Projects, London, UK (2021); Lover’s Rock, Mindy Solomon Gallery, Miami, USA (2020); LOVERBOY, New Image Art Gallery, Los Angeles, USA (2019).
Group exhibitions include Alien, curated by Yesiyu Zhao, David Castillo Gallery, Miami, USA (2024); Nova, Half Gallery, Los Angeles, USA (2022); in the margins, Kapp Kapp, New York, USA (2021); and New Ordinary Life, Monti8, Latina, Italy (2021); Resting Point of Accommodation, Almine Rech Gallery, Brussels, Belgium (2021);
Public collections include Norton Museum of Art, USA; Columbus Museum of Art, USA; Institute of Contemporary Art, Miami, USA; Xiao Hui; Wang Art Museum, Suzhou, China.
Melissa Joseph
Melissa Joseph is a New York based artist. With family roots in India and Ireland, Joseph is known for her distinctive fiber-painting practice that considers themes of belonging and cultural inheritance. Her vivid works capture deceptively mundane moments, meditating on simple interactions between friends and loved ones—people eating, resting, laughing, and embracing. Her work considers themes of memory, family history, and the politics of how we occupy spaces. By using needle felting and found objects, she intentionally alludes to the labors of women as well as experiences as a second generation American and the unique juxtapositions of diasporic life.
Melissa Joseph (b. 1980; Saint Marys, PA, USA) lives and works in New York, NY. She holds a MFA from Pennsylvania Academy of the Fine Arts (PAFA). Solo exhibitions include Tender, Brooklyn Museum, New York, USA (2025); No Words, Soy Capitan, Berlin, Germany (2025); and Margot Samel, Liste Art Fair, Basel, Switzerland (2024).
Group exhibitions include New Horizons: Recent Contemporary Acquisitions, PAFA, Philadelphia, USA (2025); Longest Way Around, Charles Moffett Gallery, New York, USA (2025); and Gathering, Cooper Cole, Toronto, Canada (2025).
Keerat Kaur
Keerat Kaur is a Canadian-born artist of Sikh-Panjabi heritage working in the disciplines of painting, sculpture, writing, music, and architecture to produce works that weave together the folkloric and the futuristic. Drawing inspiration from Sikh philosophies, her work uses symbolism and metaphor to explore our relationship to nature and spirituality. Her works reside in the liminal space between daily life and dreams. Often combining natural and mechanical forms, her work reimagines everyday objects as mystical vessels and portals to spiritual horizons. Birds, flora, and the suggestion of Persianate and South Asian miniatures all reference a legacy of symbolism and ornamentation where beauty and meaning are inextricably linked.
Keerat Kaur (b. 1995; Toronto, Canada) lives and works between Toronto, Canada and London, England. She holds a Bachelors in Visual Arts from University of Western Ontario, London, ON. Solo exhibitions include Poetics of Vitality, The Reach Gallery Museum, Abbotsford, BC (2023); and Panjabi Garden, Peel Art Gallery Museum and Archives, Brampton, ON (2023).
Group exhibitions include Nānaka Ive Jānīe, Loyola Marymount University, Los Angeles, USA (2025); Chardi Kala: Rising Above Adversity, Phoenix Art Museum, Phoenix, AZ (2024); I Will Meet You Yet Again, Fowler Museum, UCLA, Los Angeles, CA (2024); Des Pardes, The Reach Gallery Museum, Abbotsford, Canada (2023); Women Pathmakers, Euphrat Museum of Art, Cupertino CA (2020).
Viraj Khanna
Drawing on his own family legacy in the fashion industry and working collaboratively with traditional artisans, Viraj Khanna transforms methods of luxury apparel making into a powerful mode of artistic expression. Taking a unit of export and fashion–embroidery–Khanna locates an effective mode of storytelling. Recreating scenes from his own life on the wedding circuit and presenting them in vibrant embroidery, Khanna uses traditional bead and threadwork to present a language for the loss of self in a world of mega-consumption. His works chronicle Indian consumer culture and the eye-catching moments which are shared on social media. His work testifies to the changing face of Indian society, and the new forms of desire, aspiration, and loss of self that emerge in this context.
Viraj Khanna (b. 1995, Kolkata, India) lives and works in Chicago, USA. He is currently pursuing his MFA at the Art Institute of Chicago, USA. Solo exhibitions include Love me Love my Dog, Kalakriti Art Gallery, Hyderabad, India (2025); In My Fever Dream, India Art Fair, Tao Art Gallery, Mumbai, India (2023); What My Mother Didn’t Teach Me part 2, Bikaner House, Delhi, India (2022).
Group exhibitions include 36 Paintings, Harper’s Gallery, New York, USA (2024); NowStreaming,Rajiv Menon Contemporary, Los Angeles, USA (2024); Chivas Alchemy –Kaleidoscope of Time,National Gallery of Modern Art, Mumbai, India (2023).
Suchitra Mattai
Suchitra Mattai’s work engages with the subject and form of European pastoral landscapes and figuration as well as Indian miniature paintings. Linking craft-based processes, sumptuous weavings and traditional techniques, the artist portrays resolute brown heroines, replacing heroes and colonizers and reclaiming a patriarchal past.
The artist’s ancestral history informs her dialogue with European painting. Mattai’s great-grandparents were brought from the state of Uttar Pradesh, India to Guyana, South America as indentured laborers under British colonial rule. Guyana, South America, is considered part of the Caribbean due to its shared history, culture, and proximity. When slavery ended in the Caribbean in the 1800s, the British looked to their largest colony, India, to find laborers to work the sugar plantations.
Mattai describes her process as one of “brown reclamation,” reworking original images to tell new stories. Embroidery, needlepoint, beading and found objects insert women’s handiwork into the traditional painterly landscapes. In other works, the heroic stories, figures, animals, patterns, and landscapes of Indian miniature paintings are reconfigured. Here, the heroes are replaced by heroines—empowered and mythic, yet empathetic and accessible.
Suchitra Mattai (b. 1973; Georgetown, Guyana, South America) lives and works in Los Angeles, USA. She holds a MFA in Painting and Drawing from University of Pennsylvania, PA.
Selected recent solo exhibitions include Suchitra Mattai: Myth from Matter, National Museum of Women in the Arts, Washington, D.C. (2024-5); she walked in reverse and found their songs, Seattle Asian Art Museum, Seattle, WA (2025); With abundance we meet, Memphis Brooks Museum of Art, Memphis, TN (2025); The Fall, Joslyn Museum, Omaha, NE (2025); Suchitra Mattai: Bodies and Souls, Tampa Museum of Art, Tampa, FL, USA (2024);Suchitra Mattai: We Are Nomads, We Are Dreamers, Socrates Sculpture Park, Long Island City, N, USA (2024).
Group exhibitions include Wired for Wonder, Kidspace Children’s Museum, Pasadena,CA,USA (2025); Getty PST group exhibition, Kidspace Children’s Museum,Pasadena,CA (2025); Frieze London, Nature Morte Gallery, London, UK (2025); Allegedly theworst is behind us,Institute of Contemporary Art, San Jose, CA, USA (2024); A Gardenof Promise and Dissent, The Aldrich Contemporary Art Museum, Ridgefield, CT, USA(2024); The Appearance: Art of the Asian Diaspora in the Caribbean and Latin America,Americas Society, New York, USA (2024); Forecast Form: Art in the CaribbeanDiaspora,1990s-Today, Museum of Contemporary Art San Diego, CA, USA (2024).
Anoushka Mirchandani
Mirchandani’s practice examines her experience as an Indian, Immigrant, Other, Woman. Her work probes ancestry, personal history, cultural and sociopolitical environments through a diasporic lens, exploring the micro-tensions and identity transformations that are part and parcel of code-switching and assimilation in a foreign land.
Anoushka Mirchandani (b. 1988; Pune, India) lives and works in San Francisco, USA. Solo exhibitions include A House Called Tomorrow, Yossi Milo, New York, USA (2025); Homecoming, Galerie Isa, Mumbai, India (2023); I Resemble Everyone But Myself, UTA Artist Space, Los Angeles, USA (2023); Rhodes Contemporary Art, London, UK (2021) and Glass Rice Gallery, San Francisco, USA (2020).
Group exhibitions include Exhibitionism, Rajiv Menon Contemporary, Los Angeles, USA (2025); VISIBLE/INVISIBLE: Representation of Women in Art through the MAP Collection, Museum of Art and Photography, Bangalore, India (2024); Uninterrupted Resilience, Diane Von Furstenberg, New York, USA (2024); Color Coded, Bode Gallery, Berlin, Germany (2023); Winner Takes All, curated by Amoako Boafo and Larry Ossei-Mensah, Marianne Boesky Gallery, New York City, USA (2022).
She has participated in multiple residencies including The Wassaic Project, Silver ArtsProjects’ Digital Residency, Global Coralition, KYTA and Aegean Idea Lab. In 2022, shewas awarded the San Francisco Artist Grant (SFA) by the San Francisco ArtsCommission.
Rajni Perera
Rajni Perera explores issues of hybridity, futurity, ancestorship, migrant and marginalized identities/cultures, monsters and dream worlds. These themes come together to fuel explorations within a multimedia practice that includes drawing and painting, clay, wood, lanterns, new media sculpture, textile, and most recently, synthetic taxidermy. Perera seeks to open and reveal the dynamism of the icons, beings and objects she creates by means of a subversive aesthetic that counteracts antiquated, oppressive discourse, and acts as a restorative force.
Rajni Perera (b. 1985, Sri Lanka) lives and works in Toronto, Canada. She holds a B.F.A. in Drawing & Painting from Ontario College of Art & Design University in Toronto, Canada. Solo exhibitions include Efflorescence / The Way We Wake, PHI Foundation, Montreal (2024); Phylogeny, Galerie Hugues Charbonneau, Montreal (2023); The Vessel With Two Mouths, Patel Brown Gallery, Toronto, Canada (2023).
Group exhibitions include POWER, OCADU Onsite Gallery, Toronto, Canada (2024); Relations: Diaspora & Painting, The Esker Foundation, Calgary, Canada (2021); Made of Honey, Gold & Marigold, The Robert McLaughlin Gallery, Ontario, Canada (2020).
Perera’s work is in the collections of the Art Gallery of Ontario, the National Gallery of Canada, the Sobey Foundation, and the Musée De Beaux Arts De Montréal.
Sahana Ramakrishnan
Sahana Ramakrishnan builds up her paintings slowly, in layers–embedding circular handwritten mantras in translucent acrylic, and lushly painting the figures with impasto oils, gold leaf and rhinestones. It is a process of creation by encapsulation, reinterpreting classical mythology and revealing fundamental elements and frequencies of life. Ramakrishnan’s symbolism–double snakes and circles representing movement, wholeness and transition, single-cell organisms dividing and multiplying, learning to swim and learning to fly–suggests the potential within all living beings to become one with the vastness of time, space and change represented by nature, the potential to transform and navigate new surroundings like a seedling, a pioneer, a transplant. Based in part on the artist’s research into Hindu and Norse myths, her paintings depict giant animals and sea creatures, larger-than-life sentient beings offering us vital information. In Ramakrishnan’s worldview, traditional hierarchies are dismantled – predators coexist with prey as equals, men are in the service of women, and humans look to animals for guidance to navigate new environments.
Sahana Ramakrishnan (b. 1983, Mumbai, India) lives and works in New Jersey and New York, USA. Solo exhibitions include An Ocean of Time, Fridman Gallery, New York, USA (2023).
Group exhibitions include Night Market, Civic Art and Christie’s, New York, USA (2024); A Billion, Brilliant Points of Unity, Fridman Gallery, New York, USA (2024); Cross Currents, Four One Nine, San Francisco, CA, USA (2024); Beyond Binaries, Fridman Gallery, New York, USA (2021).
Maya Seas
Maya Seas practice explores the sacred and intimate aspects of life. Seas’ paintings are imbued with secrets, rituals, prayers, and recipes, evoking a sense of timelessness in the modern world. Her work is based upon a mythological belief systems and the spiritual concept that we are all part of a continuous flow of energy, and that we can use the currents of nature to pour love and healing into ourselves. Her paintings highlight the calming and powerful impact of water, self-care, and beauty rituals in promoting spiritual, mental, and physical well-being. Currents is a spatial invitation to connect with the healing power of spending time with nature and making space for moments of self-care and nurturing within life. This latest body of work is a gentle exploration of healing, drawing inspiration from the restorative properties of nature, and water, as well as the importance every day rituals.
Maya Seas (b. 1991, Stamford, CT) lives and works in Los Angeles, USA. Solo exhibitions include The Forest Breathes, Art SG with Fridman Gallery, Singapore, Singapore (2025).
Group exhibitions include Night Market, Civic Art and Christie’s, New York, USA (2024); A Billion, Brilliant Points of Unity, Fridman Gallery, New York, USA (2024); Cross Currents, Four One Nine, San Francisco, CA, USA (2024); Item Number, Rajiv Menon Contemporary, Los Angeles, USA (2023).
Kelly Sinnapah Mary
Kelly Sinnapah Mary creates paintings, sculptures, and installations that draw upon the complex interrelationships between folklore, literature, inheritance, history, and the natural world. Sinnapah Mary’s work is rooted both materially and narratively in the artist’s immediate environment of the Caribbean archipelago of Guadeloupe, a French overseas department, and her own evolving understanding of her ancestral origins. As a child, the artist identified as Afro-Caribbean but later discovered that she is a descendant of indentured workers from the South Indian state Tamil Nadu, who were brought to the Caribbean following the abolition of slavery to replace enslaved labor. Sinnapah Mary’s practice takes the form of an ongoing visual notebook in which the artist explores a rich repository of diasporic memories, mythologies, and superstitions, the synthesis of which challenges the ideological constructs of colonialism and its continued reverberations throughout today’s world.
Kelly Sinnapah Mary (b. 1981, Saint-François, Guadeloupe) lives and works in Saint-François, Guadeloupe. She holds a license in visual arts from University of Toulouse II le Mirail, Toulouse, France. Solo exhibitions include The Book of Violette, James Cohan, New York, USA (2025); Kelly Sinnapah Mary, Aicon Gallery, New York, USA (2023); The Fables of Sanbras, Kunstinstituut Melly, Rotterdam, Netherlands (2023).
Group exhibitions include The Plantation Plot, ILHAM Gallery, Kuala Lumpur, Malaysia (2025); Sunlight on the Sea Floor, Museo de Arte Contemporáneo de Puerto Rico, San Juan, Puerto Rico (2024); Surrealism and Us: Caribbean and African Diasporic Artists since 1940, The Modern Art Museum of Fort Worth, Fort Worth, TX (2024); Very Small Feelings, Kiran Nadar, Museum of Art, New Delhi, India (traveled to: Samdani Art Foundation, Dhaka, Bangladesh), 2023; Present Passing, curated by Natasha Becker & Patrick Flores, Osage Foundation, Hong Kong (2019); Désir Cannibale, curated by Jean Marc Hunt, Fondation Clément, Martinique (2018); Field notes: Extracts, Museum of Contemporary African Diasporan Arts, New York, USA (2015); Caribbean: Crossroad of the World, Pérez Art Museum, Miami, USA (2014).
She was included in the 34th Bienal de São Paulo, Though it’s dark, still I sing.
Maya Varadaraj
Maya Varadaraj is an interdisciplinary artist and designer whose family moved from the United States to Southern India shortly after she was born. Varadaraj’s work exposes the disparities of race, class, and gender in India by critiquing the traditions that enforce them. Her aesthetic vocabulary makes reference to imagery connected with Indian material culture including advertisements, popular calendar illustrations, and painted photographs.
Varadaraj both honors and disrupts traditional Indian techniques of image making, dislodging figures from domesticity and liberating their characters from prescribed decorum. In doing so she sheds light on the increased violence towards women in India, and the complexity of womanhood universally.
Maya Varadaraj (b. 1989, United States) lives and works in New York, USA. She holds a BFA from The Rhode Island School of Design and a Master of Design for The School of the Art Institute of Chicago. Solo exhibitions include The Woman and The Machine, Mana Contemporary, Jersey City, NJ, USA (2019); Khandayati, Block 37, Chicago, USA (2017).
Group exhibitions include Victor Papanek: The Politics of Design, Vitra Design Museum, Weil Am Rhein, Germany (2023); Interior Landscapes, Assembly Room, New York, USA (2019); Visiting Curator Exhibition, Center for Emerging Visual Artists, Philadelphia, USA (2019).
Ricky Vasan
Ricky Vasan is a representational painter whose work focuses on domesticity and the celebration of the mundane. The minutiae of life serves as the artistʼs prelude. Through an autobiographical lens, Vasan works to create smaller narratives, showcasing moments, spaces and people that are personally significant, while also expanding on memory and nostalgia. His paintings leverage incisive markmaking and muscular compositions to draw focus inwards. Like Richard Diebenkorn’s early figurative drawings, he utilizes geometric foundations to teeter between figuration and abstraction.
Ricky Vasan (b. 2001, Dehradun, India) lives and works in Boston, MA, USA. He holds a Masters in Fine Arts in Painting from Rhode Island School of Design, Providence, RI, USA. His debut solo show was Just A Little While Longer, Galerie ISA, Mumbai, India, (2024).
Group exhibitions include Exhibitionism,Rajiv Menon Contemporary, Los Angeles,USA, (2025); India Art Fair booth,Galerie ISA, New Delhi, India, (2025); Big Fat South Asian Show,RISD Museum, Providence, RI, (2025).