AN INTERVIEW WITH ARTIST SONALY GANDHI (at Mumbai Art Gallery, 15/4/2026), conducted by Mai White
BETWEEN US (a poem by SONALY GANDHI)
Between us, I find trust,
and choose to keep it close.
Between us, play becomes prayer
small games, shared laughter,
ordinary moments turned sacred.
Between us, distance aches.
Doors close, bodies part,
but longing keeps the soul awake.
Between us, time does not behave.
Relationships bend and change.
Some walk away, some stay,
steady enough to hold hope in place.
Between us, I rise, breaking patterns,
sometimes pushed by fragile egos,
sometimes held by devotion.
Between us, love widens.
It shelters the fragile,
crosses species, crosses form.
After all… what exists between us
is where everything meaningful happens.
The paintings in my solo show “Between us” carry fragments of lived moments, inviting you to recognize your own within them.
SONALY GANDHI
*****
Within the shifting landscapes of emotion and society, contemporary figurative artist Sonaly Gandhi offers a deeply introspective body of work in her solo exhibition “Between Us.” Her paintings do not merely depict intimacy, they question it, stretch it, and reimagine it. Moving beyond inherited roles and prescribed narratives of love, Sonaly turns her gaze toward the quiet, often unspoken spaces that exist between people. Connection forms, fractures, lingers, and transforms. It is within these subtle, in-between realms that her work finds both its tension and its tenderness.
At the core of “Between Us” lies a profound belief in equality as a lived, evolving experience. As socio-political empowerment expands, particularly for women, long-standing patriarchal frameworks around companionship and commitment are gradually dissolving. In Sonaly’s visual language, women emerge not as passive figures within these systems, but as conscious authors of their own emotional landscapes. They choose, whether to stay, to leave, to love, or to withhold, and in that choice, they reclaim agency. Her figures are poised, self-aware, and unapologetic, embodying a quiet strength that does not resist the world aggressively, but instead reshapes it through balance and presence.
What makes Sonaly’s work especially compelling is her refusal to dramatize. Affection, in her paintings, is neither exaggerated nor concealed; it exists with a certain stillness, a deliberate calm. At times, her subjects lean into intimacy without restraint, while at other moments, they withdraw, choosing distance over diminishment. These gestures, though subtle, speak volumes. They redefine feminine strength not as opposition to masculinity, but as a harmonious coexistence of energies, distinct, yet inseparable. In this equilibrium, love is no longer bound by rigid definitions; it becomes fluid, expansive, and deeply human.
Her aesthetic choices further deepen this exploration. Through a refined, contemplative palette and a masterful sense of composition, Sonaly distills contemporary relationships into their most essential forms. The absence of attire and ornamentation is striking as a conscious removal of social markers. Stripped of identity, culture, and status, her figures become universal presences, inviting viewers to project their own experiences, memories, and longings onto them. This anonymity is not emptiness; it is openness a space for meaning to flow freely.
Equally significant is her use of geometry and recurring motifs, squares, checks, butterflies, each embracing symbolic weight. These elements suggest a search for order within emotional complexity, a desire to find balance within the imperfect terrain of human relationships. The precision of form contrasts with the vulnerability of subject, creating a visual dialogue between control and surrender, structure and feeling.
As noted by artist and senior art critic Javid Hussain, “Between Us” extends beyond a mere collection of paintings; it becomes an invitation. It asks the viewer to think, to reflect, to remember, to recognize fragments of their own story within the silent exchanges on canvas. Sonaly Gandhi’s work insists on stillness. It asks: what truly exists between us? And perhaps more importantly, what do we choose to see, to feel, and to hold onto within that space?
It is within this rich and resonant context that we step into a conversation with Sonaly Gandhi, an artist whose work does not seek to define love, but to open it, layer by layer, into something more honest, more equal, and profoundly shared.
MAI WHITE:
Hello and welcome. Today, I’m in conversation with contemporary figurative artist Sonaly Gandhi, whose work thoughtfully engages with the themes of love, identity, and the evolving dynamics of modern relationships. Sonaly, it’s a pleasure to have you with us.
SONALY GANDHI:
Thank you, Mai. I truly appreciate the opportunity to be here and to share my work and thought process with your audience.
MAI WHITE:
To begin, could you situate your practice for us? How would you define your artistic language and primary concerns as a figurative artist?
SONALY GANDHI:
Certainly. My practice is rooted in figurative art, with a sustained focus on the human body as both a formal and conceptual site of exploration. I am particularly interested in the anatomy of the human form—not merely in its structural precision, but in its capacity to embody emotion, vulnerability, and psychological depth.
Conceptually, my work engages with the idea of love as a lived, evolving experience, especially in the context of the 21st-century woman. I attempt to construct visual narratives that reflect emotional intimacy, autonomy, and the shifting paradigms of relationships in contemporary society. In many ways, my canvases function as spaces where personal and collective experiences of womanhood intersect.
MAI WHITE:
Your recent exhibition brings together the ideas of love and automatism. Could you elaborate on the intellectual and experiential origins of this body of work?
SONALY GANDHI:
The origins of this series are both deeply personal and historically informed. One of my earliest visual influences was Michelangelo’s David, which I encountered as a child. The sculpture’s idealized form, its anatomical precision, and the quiet intensity of its expression left a profound impression on me. It introduced me to the idea that the human body could serve as a powerful vessel for meaning.
Over time, however, my focus expanded beyond classical ideals toward contemporary lived realities. This series, in particular, is informed by my observations of how relationships have transformed under the influence of social, cultural, and economic shifts. The increasing agency of women—especially their financial independence and decision-making autonomy—has significantly altered relational dynamics.
The notion of automatism enters my work as a way of engaging with subconscious emotional states. While the compositions may appear controlled, they are often guided by intuitive processes, allowing underlying emotional truths to surface organically.
MAI WHITE:
That transition from classical influence to contemporary inquiry is fascinating. In your view, how are modern women negotiating strength and emotional balance within intimate relationships today?
SONALY GANDHI:
I believe we are witnessing a critical reconfiguration of relational balance. Historically, women’s roles within relationships were often shaped by dependency—particularly economic dependency—which limited their autonomy.
In contrast, contemporary women are increasingly self-reliant, financially independent, and empowered to make decisions that align with their personal values. This shift enables a more equitable negotiation of intimacy. Strength, in this context, is no longer defined in opposition to vulnerability; rather, the two coexist.
What interests me is this coexistence—the ability to assert independence while still engaging in emotional connection. It reflects a more nuanced and layered understanding of identity, and I attempt to capture that duality within my figures.
MAI WHITE:
Your figures often appear deliberately anonymous, yet deeply expressive. How does anonymity function within your work as a conceptual tool?
SONALY GANDHI:
Anonymity is central to my visual language. Through my travels and interactions with diverse communities, I have come to recognize the universality of emotional experience. Despite cultural, geographical, or social differences, there exists a shared emotional vocabulary—particularly among women.
To preserve this universality, I consciously remove markers that might anchor the figure to a specific identity—such as clothing or cultural signifiers. Instead, I employ abstract patterns to both conceal and reveal the body.
This approach allows the viewer to engage with the work without preconceived biases. The absence of specificity becomes a point of access, enabling a more personal and introspective connection. The figures, in a sense, become mirrors rather than representations.
MAI WHITE:
That leads beautifully into my next question. Your use of geometric motifs—particularly checks—and organic elements like butterflies is highly distinctive. Could you unpack their symbolic significance?
SONALY GANDHI:
These motifs operate on both formal and conceptual levels. Geometric patterns, such as checks, introduce a sense of order, structure, and precision. They are, in many ways, visual metaphors for the contemporary pursuit of perfection—an aspiration that permeates various aspects of life, including relationships.
We are living in a time where there is a heightened desire to optimize, to refine, and to achieve ideal states of being. This extends to emotional life, where individuals often seek “perfect” relationships.
Butterflies, on the other hand, introduce a contrasting yet complementary dimension. They symbolize transformation, fragility, and symmetry. Their presence reflects the transient and evolving nature of relationships, as well as the beauty inherent in change.
Together, these elements create a visual tension between control and fluidity, perfection and imperfection—mirroring the complexities of contemporary intimacy.
MAI WHITE:
There’s a strong philosophical underpinning to your work. As traditional relationship structures continue to evolve, what core message or reflection do you hope viewers carry with them?
SONALY GANDHI:
At its essence, my work advocates for a philosophy of acceptance and coexistence. We are living in a time of rapid transformation, where traditional norms are being questioned and redefined.
In this context, I believe it is crucial to move toward a mindset of “live and let live.” This involves relinquishing judgment, embracing diversity in choices, and recognizing the legitimacy of multiple ways of being and loving.
Each painting I create carries a narrative, but it is intentionally open-ended. I do not seek to impose a singular interpretation; rather, I invite viewers to engage with the work through their own experiences.
If there is one takeaway I hope for, it is this: that equality, emotional freedom, and authenticity are not ideals to be pursued abstractly, but values to be practiced in everyday life.
MAI WHITE:
That’s both profound and deeply resonant. Thank you, Sonaly, for sharing such thoughtful insights into your practice. It has been a truly enriching conversation.
SONALY GANDHI:
Thank you, Mai. It’s been a pleasure to reflect on these ideas with you.
Excellent interview. Very Insightful and the perspective on changing times was one to meditate upon. Great work, Mai.
Thank you so much and I really appreciate that. I’m glad the perspective on changing times touched you. It’s something, I found deeply thought-provoking as well while working on it.