The domain of art is in constant lookout for ways to rupture the conventional and celebrate innovation over it, often through new, unexpected, and resonant media. Well, this sets the premise of “Threads of Tradition”, an off-centre solo exhibition of brand new works by Thota Vaikuntam at Sanya Mallik’s Black Cube Gallery in Hauz Khas, New Delhi. Scheduled to run from November 6 to 30, 2025, this solo exhibition shall celebrate the dignity, sensual gaze, and timeless cadence of rural Telangana. This particular segment stands out as the artworks are not attached to any canvas, but on hand-stitched on velvet, presented in the gallery’s new programme for the season. A critical pivot of the exhibition is Vaikuntam’s iconic visual thesaurus, the Telangana women draped in lustrous hues and ornate jewellery. Through this depiction, the artist seeks to reimagine the majestic 3-D craft of Zardozi embroidery.
Embroidery as a Medium of Art &Rural Grace
The centerpiece that will adorn the exhibition is Vaikuntam’s painted imagery on textile sculpture. Vaikuntam’s work of art traces its expression through a close collaboration with the Shams family of Agra, which includes 16th-generation Zardozi masters, who are experts in transforming his radiant portraits into 3-D textile objects. Zardozi, a Persian term meaning “sewing with gold,” is traditionally a courtly craft involving the use of metallic wires and threads. The saturated reds, ochres, and deep blacks are the signatures of Vaikuntam’s paintings, which are vibrantly reverberated through silk threads, Zardozi techniques, and the use of semi-precious stones. It is done to provide the tactile strength and a shimmering facade, which gets self-modified with alterations in light and proximity of viewing. The resulting piece is a representation of modern painterly gestures and a seamless continuation of centuries-old craft. This fusion elevates it from being a simple artwork to a vessel of memory, knowledge, and ancestral artistry.
For decades, Vaikuntam’s canvas has served as a point of convergence for the everyday life of Telangana. His work can be easily known through the recurring bold lines, fluid forms, often set against monochromatic backgrounds. Most of his subjects germinate from his childhood memories, and are no less than a form of devotion to him. These nostalgic waves, when inked on canvases, become symbols of cultural heritage.
A Dialogue Between Past and Present- Why It Matters?
The shift exhibited by Vaikuntam, in terms of medium, is more like an extension of his practice. The core subject matters that dominate the centrality of the exhibitions are the rituals, appearances, and essential spirit of the Telangana people. He has long been celebrated for his dignified depictions of Telangana’s rural communities. By stepping into the textile, he rephrased his own visual codes with a lineage of craft that carries its own unique history and social affiliation. The exhibition witnesses an experiment, more essentially an act of cultural conservation and continuity. It creates a dialogue between two styles of visual languages, resulting in a cohesive harmony which is not only pleasing to eyes, but is intellectually stimulating.
| Exhibition | Details |
|---|---|
| Artist | Thota Vaikuntam (b. 1942), renowned for figurative painting. |
| Exhibition Title | Threads of Tradition |
| Location | Black Cube Gallery, Hauz Khas, New Delhi. |
| Dates | November 6 – 30, 2025. |
| New Medium | Zardozi (gold-thread embroidery) on velvet. |
| Collaborators | The Shams family of Agra (16th-generation Zardozi masters). |
Key Highlights
- Vaikuntam’s iconic figurative language translated into hand-embroidery.
- Collaboration with the Shams family, custodians of the zardozi practice, tracing back generations.
- Works made on velvet with silk threads and semiprecious stones, creating tactile luminosity.
- The exhibition positions craft as co-author rather than atelier accessory.
- A chance to see how contemporary Indian modernism interfaces with living artisanal traditions.
Takeaway
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The Threads of Tradition is undisputedly a cultural statement. In the niche of several hierarchies that are distinctively separate fine arts from craft, this collaborative approach, adopted by Vaikuntam and the Shams family, seeks to dismantle this concrete division. A craft like Zardozi, that has been practiced across generations, requires a great deal of skills and patience. The works glimmer, yes, but more importantly, they remind us that tradition, when engaged thoughtfully, can be generative rather than something backward-looking.
