4 min readUpdated: May 26, 2026 08:25 PM ISTArtist Paresh Maity with his 100 x 8 ft canvas titled Jagriti (Awakening) (Credit: Noida International Airport)Recently back from the Venice Biennale, where his brass sculpture titled Equilibrium is being exhibited at Marinaressa Gardens along the Riva dei Sette Martiri, artist Paresh Maity was at the Noida International Airport on May 26, introducing his works at the venue to a select few. “It is important that an airport reflects the culture and spirit of the place,” he told The Indian Express.Known for his large-scale public artworks and vibrant depictions of India’s cultural landscape, Maity has created two major works for the airport, which is reportedly expected to cater to nearly 12 million passengers annually during its first phase of operations. These include Jagriti (Awakening), an expansive 100 x 8 ft oil-on-canvas with six panels, and Mystic Abode, an immersive 12-and-a-half foot tall installation made of more than 8,000 brass bells. “These are works that represent India’s spiritual and cultural energy and heritage,” stated Maity.So Jagriti (Awakening) — on view after the security check — unfolds as a visual journey through some of North India’s most significant cultural and spiritual landmarks that are connected through the sacred rivers of Ganga, Yamuna, Saraswati and Saryu. If the first panel depicts the tranquil ghats of Varanasi, in another Maity paints the Sanchi Stupa of Sarnath in a recollection of Buddha’s first sermon after attaining enlightenment. The Taj Mahal in Agra stands on the banks of the river Yamuna, and next to it is Kusum Sarovar in Mathura-Vrindavan. The fifth panel is dedicated to Ayodhya, the birth place of lord Rama, and in the sixth panel he paints the spiritual congregation at the Mahakumbh that he also recently witnessed.“This work is based on ‘Shadanga’ or the six limbs of art that refer to the classical framework for art according traditional Indian philosophy, including aspects such as form, proportion and expression,” says the artist who grew up in West Bengal’s Tamluk, situated on the banks of the Rupnarayan River. He adds, “The entire painting is also based on sunrise, which gives energy and awakening.”If the canvas draws from India’s visual narratives, traditions and faith, Mystic Abode — in the boarding gates area — is inspired by acoustics and spiritual resonance of the bells. Conceived as an experiential installation and first exhibited in Switzerland in 2016-17, the work invites viewers to enter through its doors into a contemplative space. “In a world marked by war and unrest, I am trying to show that there is still a place for peace and harmony. Bells bring positive energy and create a meditative sensation. The installation also reflects a desire to be in a transformative space where one takes a pause and reflects within, tapping into our inner senses of vision, tactician and audition,” says the 2014 Padma Shri awardee. Maity’s immersive installation titled Mystic Abode. (Credit: Noida International Airport)One of India’s most recognised contemporary artists whose works are in museum collections the world over, Maity’s art can also be found at Delhi’s Indira Gandhi International Airport. At Terminal 3 is his 850-foot-long mural Indian Odyssey that traces a visual journey through India’s landscapes, monuments and festivals, from Bengal and Assam to Rajasthan, Kerala and Kashmir, among others. At Terminal 1, on the other hand, his installations include Sound of Silence, a sculptural work that brings together thousands of brass and copper bells to create a human form, and Life’s Journey, a pair of fibreglass white elephants painted in myriad hues. “Art was always meant for the public, dating back to prehistoric times, and one of my aims as an artist is to reach people and create art that is accessible to all,” he notes.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). ... 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