Elsewhere from Within: Veenita Chendvankar Presents a Solo Exhibition at KYNKYNY Mumbai

KYNKYNY Mumbai will present Elsewhere from Within, a solo exhibition by artist Veenita Chendvankar, from 10 November to 6 December 2026. Bringing together paintings shaped by folklore, childhood imagination and the natural world, the exhibition explores the relationship between reality and fantasy through intricate compositions, layered acrylic surfaces and a distinctive interplay of colour, texture and form. The works invite viewers into imagined landscapes populated by fantastical creatures, botanical elements and floating figures, where conventional ideas of space and perspective give way to a more intuitive visual language.

An Artistic World Shaped by Folklore and Imagination

At the centre of Elsewhere from Within is Chendvankar’s interest in the imaginative possibilities of painting. Drawing inspiration from folklore, nursery rhymes and the uninhibited imagination associated with childhood, she creates compositions in which human, animal and botanical forms coexist. Rather than presenting recognisable narratives, her paintings suggest encounters between different worlds, leaving room for individual interpretation.

Her visual language brings together elements of traditional Indian folk and indigenous art, mythology and everyday experiences. According to the artist profile published by KYNKYNY, her academic engagement with Madhubani, Warli and Gond traditions, Indian textiles, miniature painting and the murals of Ajanta and Ellora has informed her approach to imagery and composition. These influences appear in the intricate patterns, stylised figures and decorative details that characterise her work.

Layering, Pigments and the Process of Making

The process of painting plays a central role in Chendvankar’s practice. Instead of beginning with a fully defined image, she allows the surface of the canvas to influence the direction of each composition. The process begins with a blank canvas, which gradually develops through successive applications of acrylic pigment.

Working with fine washes, sometimes across eight or more layers, she builds subtle variations in colour and texture. Different tools and techniques produce unexpected marks and formations across the surface. These incidental patterns become starting points for further exploration, as the artist identifies shapes and associations within them and develops these discoveries into visual narratives.

This approach has similarities to pareidolia, the human tendency to recognise familiar shapes and figures in ambiguous patterns. Chendvankar responds to these emerging forms through intuitive drawing and detailed linework, gradually establishing relationships between figures, patterns and surrounding spaces.

Fantastical Forms and Fluid Landscapes

Colour and movement are important elements of the exhibition. Pale grey, luminous blue, mauve and teal appear alongside olive, ochre, pink and brown, creating layered picture planes with subtle tonal variations. Within these surfaces, fantastical creatures, insects, vines, flowers and celestial bodies occupy spaces that often seem to shift between the recognisable and the imaginary.

The compositions frequently depart from conventional perspective. Figures stretch, bend and float across the canvas, while variations in scale and orientation create a sense of movement. Elements of the natural world become part of an interconnected visual environment in which human and animal forms sometimes merge.

The artist’s careful attention to pigment behaviour and surface treatment contributes to the visual coherence of these imagined landscapes. Her sustained experimentation with colour and material is also connected to her artistic inheritance from her father, Sadguru Chendvankar, whose artistic legacy continues to inform her engagement with painting.

An Open-Ended Approach to Interpretation

Rather than offering fixed stories or clearly defined meanings, Chendvankar’s paintings encourage viewers to establish their own connections. The creatures, figures and landscapes suggest narratives without explaining them completely. Their ambiguity allows different interpretations to emerge through individual experiences and associations.

This openness also shapes the broader concerns of Elsewhere from Within. The exhibition presents imagination as a way of approaching the uncertainties and complexities of contemporary life. In these paintings, unfamiliar forms are not treated as something that needs to be explained or resolved. Instead, they exist alongside familiar elements, creating an environment where curiosity and wonder remain central.

The exhibition’s engagement with nature, folklore and imagined worlds also connects with KYNKYNY’s wider interest in contemporary artistic practices exploring ecology, cultural inheritance, memory and identity. Founded in 2004 by Namu Kini and Vivek Radhakrishnan, the gallery works with emerging and established artists through its exhibition programme in Bengaluru and Mumbai.

Exhibition Details and Visitor Information

Highlights of the exhibition include:

• Layered acrylic paintings exploring colour, texture and tonal relationships.
• Imagery influenced by folklore, nursery rhymes and childhood imagination.
• Fantastical combinations of human, animal and botanical forms.
• Intricate patterns and fine linework developed through an intuitive painting process.
• Imagined landscapes that challenge conventional perspective and invite individual interpretation.

Art, Imagination and the Experience of Seeing

Through Elsewhere from Within, Veenita Chendvankar brings attention to the possibilities of imagination as a creative and interpretative experience. Her paintings encourage audiences to look beyond familiar forms and reconsider their relationship with the natural world, memory and cultural traditions. By combining material experimentation with references to folklore and childhood, the exhibition offers an opportunity to engage with contemporary Indian painting through a visual language that remains personal, exploratory and open to interpretation.