‘The Other Self’ solo exhibition by Seema Kohli at Jehangir Art Gallery Auditorium, Mumbai

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You can view the online catalogue by clicking on the following Image: 

The Other Self 
Seema’s ode to the forms of energy – each distinctive and with its own unique properties – stems from her own belief in the self. Within each individual reside several energies that shape a personality, and the struggle for recognition of one single consciousness.

Immersing herself through the readings of The Bhagwatgeeta, Shakti, Sufi contexts and various other philosophies – The Other Self is the coming together of different stories emerging from different characters and their relationships in harmony with humanity.

Seema Kohli’s works reveal a claiming of feminine subjectivities, an altered concept of feminine sexuality. She ventures into her experiential interpretation of morals, faiths or religion through mediums of Paintings, Sculptures, Performance Video and drawing live at the Exhibition space.


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Group show “Soul in Art” at IFFI,Inox,Goa- 22Nov 2013

Group show “Soul in Art” at IFFI,Inox,Goa

The group show at IFFI,Inox,Goa titled “Soul in Art” curated by Sushma Bahl and Archana Bahl Sapra showcased my canvases and a huge experimental installation titled “Breathing Chimes”. It was inaugrated by Mr. Manish Tiwari and Susan Sarandon tomorrow on 22Nov 2013.It was attended by filmmakers like Jiri Menzel,Majid Majidi and members of the film fraternity like Waheeda Rehman and Rakeysh Omprakash.


IFFI Goa 4

“Breathing Chimes” installation,IFFI,INOX,Goa.


Rakeysh Omprakash Mehra & Pavan Malhotra

IFFI Goa 2

With Mr. Manish Tiwary


With Susan Sarandon



installation view at Nehru park, New Delhi

‘Cutting‬ chai’ the phrase originated in ‪Mumbai‬, when one cup of Chai was shared between more than one person. Hence the idea of dialogue, bonding, communication, community…. sharing…here it is as an installation …for me art derives from life and art is connected with living…but is this art? What is art? Who decides what is art? 997089_10153251934185625_5697166505762680070_n
The installation is made of metal servers traditionally called “Cheekka’ which are used to serve tea in rural areas. Chai being the common accomplice to any conversation in all strata holds a very recognizable space.
In fact while painting for me, it’s a medium between my painting and me. It helps me holding my conversation intact with my canvas and me. I have used teacups and the idea of tea as a means of introspection and even leading to final liberation. It holds and important dialogue between me and my inner, my outer, my social and my spiritual world.
Hence, the need for this installation.


1) The readymade material involves the whole idea of installation. That is the root of the concept, as when I saw it as a Diwali gift to be distributed I wanted to use it for my artwork. I feel already available new or used material connects the installation to the present and also to the common man.
2) Its rustic in material not in design. It’s rural in nature as its used by the common man from the lowest strata to the higher up. As the design of a “Cheeka” is extremely contemporary in utility. Without any complications it serves the purpose and has been around for almost a little less than a century, since the idea of “chai” and the “chai dukan” came about.

3) The artist in me came around as I feel that chai holds many conversations, dialogues and intimate spaces. It is a part of my working space and also I have paid an ode to it by making tea cups, tea glasses, kettles. They help me hold a conversation in my outer space with society, my inner space with my canvas and the most inner silent spaces while i interrogate and introspect with in. My most resent work for my collateral at Kochi Biennial as called “a storm in my tea cup”. I even Have a tree of liberation with teacups hanging instead of leaves. This work was done almost 8 years back. “Chai” is also the first thing with which we start our day, new beginnings, whichever class of strata we belong to.
“Cheeka” also implies that the person is not alone and with company.

Material: metal wire, glass, acrylic color and tea lights.

Seema Kohli’s art practice involves various disciplines from drawing, painting, sculptures, installations and performance. The most significant one to emerge is ‘Performance Art’. Decay, hybridization & transformation: Creating new identity; reshaping belongings; intimacy; a dialogue of matter and memory all these constitute the language of her work. “Time” as a factor, is central to her practice, whether it’s a wrapped object or a performance. She uses time as medium, which is extended, assembled and captured. The aspects of continuity, repetition, vulnerability, duration, temporality, awareness, situation and public involvement are also inherent qualities that inform her art practice. The process before and after the performance/installation is equally important and challenging.
Seema Kohli
February 2015

This idea belongs to the copyright of the artist and should not used in any form or permutation without the knowledge, consent and remuneration due to the 19292_10153086277627597_6985000632826499166_nartist.

India Art Fair 2015

Works by seema kohli



29th January – 1st February, 2015
Venue – India Art Fair 2015, NSIC Exhibition Grounds,
Okhla industrial Estate,
New Delhi.

Gallerie Navya Presents
“A Moment in time”The Golden Womb Reclaimed
Works by
Seema KohliBooth: E7
The Golden Womb Reclaimed
From ashes to womb to dust
Once upon a time, a long while ago, there was a womb.
A golden womb. The Hiranyagarbha.
From the Hiranyagrabha emerged the sun and the moon,
the planets and the stars, and a conscious universe was born.
The golden womb: from it emerged the five elements,
air , water, fire, earth and ether.
A universe that was neither male nor female. But as it took form, it led to the birth of Maya, or illusion.
  • Excerpts from “I AM” by Seema Kohli, 2012

Krishna Krishna Raas, 36 in x 60 in, Mixed media on canvas with 24 ct gold and silver leaf, 2014

In the ancient India scriptures of Yajur Veda, Hiranyagarbha or the Golden Womb is the primordial and eternal cosmic womb that nourishes, generates, and revives the cosmic order. Hiranyagarbha is that receptacle in which all the becoming takes place. As a space within a space, it encompasses the suns, moons, stars, and all universes, and also the five elements—earth, water, fire, air, and ether. The Hiranyabarbha pervades all creation as it transcends time and space by expanding and advancing infinitely in the cosmos.
I became interested in the concept of Hiranyagarbha about two decades ago; after visiting Haridwar and Rishikesh, where I saw cavities on the sand banks of the river Ganga, which were formed over the years as the river changed its course. They reminded me of a womb, and the quietude and solace that I found while sitting inside one of these cavities was extremely powerful. After my mother passed away, I began to think more about the source of life and its course, and thus began my quest in knowing the concept of Hiranyagarbha.

low res 1216, 24x24 inches, 2015 low, 1204, 24x24 inches, 2015 low, 1205, 24x24 inches, 2015Through my works I seek to understand the organic and continuously evolving processes of all beings and matter. For over twenty-six years, I have been interested in showing the state of flux of the body and mind using various mediums and materials. For the first time, I have put to use circular canvases to depict the golden womb.

My family hails from Greater Punjab, currently located in Pakistan and after the partition of the Indian subcontinent in 1947, they had to migrate to Delhi, India. The tales that my family narrated about their displacement and their journey, in search of a new home and life is a deeply embedded memory in my mindscape that stokes my imagination of space and existence. To understand my own personal voyage, I often reflect upon the travel undertaken by my family and the adverse conditions they had faced as they crossed national, religious, and sectarian borders. Thus, my creative practice in many ways can be viewed as an exploration of the static and dynamic and internal and external forces that influence our lives.

Seema Kohli
IAF 2015

24x24 in, 1230

Kasturi, 24x24in diameter, mix media on canvas with 24kt gold and silver, 2015

1219, 10x12 inches, mix media on canvas, fiber glass, 2015 ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? 1225, 10x12 inches, mix media on canvas, fiber glass, 2015 ??????????????????????????????? 1231, 10x12 inches, mix media on canvas, fiber glass, 2015 ???????????????????????????????

10x12x4 inches, mix media on canvas with 24kt gold and silver leaf, fiberglass, plywood, 2015

1217, 48x36x36, mix media on canvas, plywood, fiberglass, 2015 a 1217, 48x36x36,mix media on canvas, plywood, fiberglass, 2015 d 1217, 48x36x36,mix media on canvas, plywood, fiberglass, 2015 e1217, 48x36x36,mix media on canvas, plywood, fiberglass, 2015 f

 Juneja Art Gallery Presents


Works by
Seema Kohli

Booth: F6


It is only when we understand Maya’s “khel” that we can aspire for the union of our inner force with that of the outer, which we call Universal Truth or Para Brahman.

Whenever I look around at the plants in the pots in my balcony, the trees in the gardens or forests and the birds in the sky, the table I work on, the paints in the jars with which I paint, the sink in which I wash the dishes, the clothes that I wear, even the food that I eat, the apple that I bite, my pet dog – Fido, my relatives, the mosquitoes that I squash as a reflex action when it descends on me, each one has its own journey defined by its own “kriya” or actions; thus marking its own cycle of rejuvenation.

1218, Detail, 48x36x36, mix media on canvas, plywood, fiberglass, 2015 c 1218,48x36x36, mix media on canvas, plywood, fiberglass, 2015 b 1218,48x36x36, mix media on canvas, plywood, fiberglass, 2015 E

1218,48x36x36, mix media on canvas, plywood, fiberglass, 2015a

For, I firmly believe that there is no such thing as death, only a cycle of creation and destruction, birth and rebirth. The “TriGuna” came about as my invocation of these basic energies that are responsible for creation and destruction and creation yet again.


Am I a Myth or reality?
Today’s reality is tomorrow’s myth…
Tomorrow’s myth is yesterday’s reality…
I weave a web of illusion,
I entice, create desires…
Am I,
Terrible, a destroyer, a slayer?
Of all that entangles into my web.
Licking the root of their desires,
Vanquishing it,
Bestowing freedom to all who dare to play with me
I am Maya
The fire within is without
I am the creator and the destroyer
Play with me

Seema Kohli

I believe that to explain the manifestation from one to many, of forms, names and a calendar of time within which each was created can be attributed to an evocation of these energies. It is my personal belief that from the mythological form of Ardhanareshwar, when Parvati disengaged from Shiva, Shakti gained form and started manifesting as many…or this world.

From Shakti arose the Saptmatrikas, the Astlakshmis, the Navdurgas, and the Dasmahavidyas. In time, the manifestations resulted in the creation of the Chausath Yogini and the Ekyasi Yogini, forms that continue to evolve to satisfy our needs or to bring balance to the world. This is, of course, my personal belief, not something you will find in a book or rendered in a philosophy, but it appeals to me just as much as the many versions of Shakti that exist. I share in those versions and am fascinated by their interpretations and manifestations too.
1219, 48x36x36, mix media on canvas, plywood, fiberglass, 2015 e 1219, 48x36x36, mix media on canvas, plywood, fiberglass, 2015 c 1219, 48x36x36, mix media on canvas, plywood, fiberglass, 2015 b 1219, 48x36x36, mix media on canvas, plywood, fiberglass, 2015 a

For we think back through our mothers if we are women
– Virginia Woolf

These manifestations inspire me to attempt to analyze the world I see around me, especially as a woman who must make sense, daily, of injustices in the world. To comprehend why we continue to look away
when prejudice occurs, when sensitivities are overlooked, or when negative forces are invoked. I want to, therefore, to look inwards to evoke the energy that is manifest in each one of us, to apply the healing salve of motherhood to a world that needs it. For that energy resides in each one of us, women and men, and it is that we must manifest.
I look within the womb to discover, that which is outside. I want to awaken my senses to experience the goddess’s gift of what nature bestows on us – not just of life but of the sun that shines and the rain that rejuvenates, of the heat and cold and all things that bring to life that which is around us.

I believe in that energy and it is that I present in this installations and video performance.

– Seema Kohli
December 2012
(The explanation is purely the interpretation of the artist and may not comply with the various scriptural interpretations by lk       



art heritage


‘Chausat Yogini’
Works By
Seema Kohli

Collateral Exhibition With India Art Fair 2015
29th January – 1st February, 2015

Venue – Art Heritage I, Basement, Triveni Kala Sangam,
205, Tansen Marg, New Delhi

RSVP- Tel-+91-11-23719470, 981869193 artheritagegallery@gmail.com/www.artheritagegallery.com

HI-RES, chaust yogini with black frame, 13 feet wide X 8 feet height, each print 13 inches with frameI believe that there first existed a womb through which everything came
to be created, which I call the golden womb or the ‘Hiranyagarbha’. This golden
womb,  this  one  energy  or  ‘shakti’  later  disintegrated  into  three.  These  three
new shaktis came  to  be  known  by  the  names  Durga,  Laxmi  and  Saraswati.

These names that have been

1184, 5x5 inches, 2014

Chaust yogini( Detail)

1181, 5x5 inches, 2014

Chaust yogini( Detail)

conferred upon these shaktis might be mythical in
nature but the purpose of the existence of these shaktis is not mythical.
I believe that every idea or concept has to be contained in a time, space
and  by  a  name;  so  I  have  tried  to  use  the  same  names  that  have  traditionally
been  used for these shaktis. Now these three shaktis further disintegrated into  7,
then 15, 21, 42, 64, 81 and so on; thus these energies constantly  kept increasing.
These  then  moved  into  different  spaces  and  led  to  the  creation  of  different
things  and  being. And  I  feel these  energies  are  still  further disintegrating  and
developing into many forms, of which we are not yet aware.
Thus  we  can  never  be  sure  how  many  forms  of  this  ever expanding
energy, and by energies I am  referring  to the  Yoginis,  actually exist in a given
time and space.
Here,  I  am  presenting,  along  with Art  Heritage  Gallery,  a  showcase  of
“Chausath Yogini”; 64 etchings on zinc plate, which are all separately framed in
glass, occupying a wall space of 156” x 104”. The size of each work without
frame is 8” x 10”.
Copyright © *|2014-15|* *|seemakohli|*, All rights reserved.
*|IAF 2015|*

1174, 5x5 inches, 2014

Chaust yogini( Detail)

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Khushii’s India on Canvas: Interactions


work in progress with Mary kom

My first interaction with Mary Kom was very insightful and interesting. Because of certain time constraints we had to meet in Pune. On our meeting we decided to collaborate on a concept related to flight; we both have had experiences which have helped us to rise above our self in our respective fields. As far as the painting process goes, Mary had not held a brush ever since she left school, but there was a childlike enthusiasm with which she undertook this collaboration.

gandarva, with mary kom,  60x70 inches, mix media on canvas with 24kt gold and silver 24kt gold and silver

Gandarva (with M. C. Mary Kom), 60 x 70 inches, mixed media on canvas with 24 carat gold and silver, 2014

The painting that we worked on together depicts the unseen flying celestial bodies – Gandarva, in a jubilant mood. These mythical beings are all around us and are invisible to the naked eye, but we can feel their presence in the form of a subtle essence.

saraswati, with nirmala sitaraman, 48 x 72, mix media on canvas with 24kt gold and silver

Sarasvati (with Nirmala Sitaraman), 42 x 72 inches, mixed media on canvas with 24 Carat gold and silver, 2014

My next collaboration was with Nirmala Sitaraman, who is a very accurate and analytical person; this was very evident from her extensive work during the campaign. We met at her office to discuss the idea for our collaboration, and it was there that we decided to work on Sarawati- Goddess of Knowledge and Learning.

Work in progress with Nirmala Sitaraman

Not only was she very forth coming with her inputs, but she also had a deep, personal interest in the subject matter that we’d be working on; in fact the entire base of this painting was done by Nirmala. She was very intrigued by my work process and inquisitive about what mediums I chose to employ and how I went about employing these mediums. The experience of working with her was very invigorating.

My next collaboration was with Alpana Kirloskar. She came to the studio to discuss the theme that we would be working on together.

Having previously seen some of my Krishna paintings, she was keen on working with me on the same theme. As we ideated, we decided to depict Krishna with invisible wings which would convey his

Krishna, with alpana kirloskar, 48x60 inches, 2015

Krishna (with Alpana Kirloskar), 48×60 inches, mixed media on canvas, 2015

low 1208, 3x5 feet, 2014

Triguna (with Sakshi Salve), 3×5 feet, mixed media on canvas, 2014

flight, and on the other hand, Radha has been depicted as a peahen, the enchantress in this situation.

I also collaborated with Sakshi Salve. When she came over to the studio, I was working on a diptych which interested her, and thus we decided to work on a triptych; this triptych would together constitute one whole painting.Since the paining would be a 3-part work, the theme we narrowed down to was that of the 3 worlds- satva, rajas and tamas; which also a representation of truth, falsehood and the grey area which lie in between. We also decided to incorporate the imagery of the ‘tree of life’ from Bhagwatgita (Chapter 15); along with the human form which is described as the ‘ultavriksh’ (upturned tree) in the Bhagwatgita; where the roots of the tree

symbolize the head and the tree trunk symbolizes the torso of a human.raman




The Unending Dance of light- “Raks-E- Shams” At Kochi-Muziris Biennale 2014


The Unending Dance of Light: Raks-e-Shams

“If someday I should get the chance to paint, my fingers should be ready for it”

“The time I am not painting I don’t really know what else to do. I get very confused.”

The abiding themes of Seema Kohli’s life are her art practice and her faith – and they are inextricably woven together, like weft and warp.

As a young child she was “put on to painting” on the advice of a doctor. Her parents had taken her because they were worried about their extremely shy, introverted daughter. If paper was not available (and sometimes when it was) she would draw on her body or on her clothes, often the faces of women and their hair. She describes herself as a “compulsive doodler… my hands could not stop.” Even later as a student of philosophy she would leave lectures with drawings all over her jeans, not really sure how they had got there.

Her childhood was full of stories: of myths and legends, of the lives of saints and mystics and of her ancestors. While hiding from visitors in the bathroom of her home she would explore imaginary universes: “I used to start entering those cracks (in the limed walls) and there used to be a whole new world… with rooms and rooms inside… and all the stories of my grandfather and my father and the films we were seeing.” Painfully shy of the outside world she thrived in her own imagination.

She describes her upbringing as spiritual rather than religious. Her family was Advaita, Arya Samaj . There was no idol worship in the house, but havan (fire offering) and spiritual reading, and the stories. And Seema was a deeply spiritual young woman. At seventeen she left home to an Ashram in Haridwar on the Ganges and took initiation. Her father retrieved her, insisting she live a householders life.


seema kohli at her studio in Delhi

In the late 70”s Seema studied at Miranda House, Delhi University, where learning something of European philosophy was “like an explosion” for her. Then she took her fidgety fingers to an applied arts course at South Delhi Polytechnic. This is the closest to formal art training that Seema has come. She found the exposure to different media and the training in design helpful and some of the techniques she learnt – such as calligraphy, the use of pen and nibs – are still central to her work. But it wasn’t long before she realised that she couldn’t be a graphic designer, or an illustrator. She had too many stories of her own and was not interested in telling other people’s or in meeting their deadlines.

This discovery that she wanted to work as an artist coincided with marriage and parenthood. (Seema is no longer married, but is a devoted and adored mother.) For several years time for art making was snatched. At night as the rest of the family slept Seema would draw on the dining table, readying her fingers.

When her second child went to school she set up a permanent drawing table, and supported by her mother “who realised that my sanity came with painting” she carved out time to work at Triveni Kala Sangam (a cultural institution where fine art as well as Indian classical dance and music are practised and studied). She worked there for almost a decade from 1996, relishing the community of fellow artists. During this period she also trained at Bharat Bhavan an arts institution in Bhopal. There too she found a community of artists and the travel away from her home city afforded her an exhilarating taste of freedom, coming as she did from “a cocooned life, a very chaperoned space.”


The Unending Dance of light, Video still, 2014


“Art is an inner exploration. Once I reach an answer, a halt or a standpoint, I express it in the language of painting. ”

“I made my own mythology”

“I do not consider my work as other than me.”

If the doors of perception were cleansed, everything would appear… as it is, infinite.

Everything that lives is holy. Life delights in life.

Faith is a passionate intuition.
Seema’s work is deeply informed by her faith. She is inspired particularly by the myriad traditions (mythological, philosophical, ritual) that fall under the umbrella term “Hinduism”. Since 1998 (the year of her first exhibition) she has been representing the Hiranyagarbha, the golden womb or egg from which the cosmos was born. The tree of life is another enduring leitmotif. Her work explores the great cycle of life-death-life and liberation and the balance of male and female, yin and yang, Shiva and Shakti, Purusha and Prakriti in the cosmos.

But her work is not “Hindu;” magpie-like she will absorb a story or an idea from any tradition (Christian, Buddhist, Sufi, Ancient Greek) and make it her own. She talks of “cooking up” her own stories and making her own mythology. She is rigorously anti-dogmatic in her religious practice, inventing her own mantras and rituals, and in her art making.


The Unending Dance of light, Video still, 2014

One of the most important things to understand when engaging with Seema’s work is that she perceives as real all that she renders. So her Yoginis are not simply illustrations of semi-divine female beings from a Tantric cult that became mainstream and flourished between 9th and 11th centuries but the rendering of energies that are operational in her life today. “These various energies are constantly actually making me feel WOW… I cannot deny that they are influencing my life and are a part of my existence,” she says.

Seema’s work is part esoteric and fantastical but it is also firmly grounded in nature and domestic life. Birds, animals, fish, flowers, trees, suns and moons float alongside material objects such as coat hangers, ladders, handbags, sofas and buildings on her canvases. In the long scroll in this exhibition there are chai glasses and armchairs, references to the artist’s love of tea and curling up with a good philosophy book as well as to the tea stains forming the ground of the work. This combination of elements, a kind of “magic realism,” makes a deeper point too; the spiritual is rooted in the material, in maya, in the body.

It is generally accepted that all world religions are patriarchal but Hindu traditions are interesting in making space for a female divine principle. Women may have lower social status – in fact this is one of the great paradoxes – but they are worshipped as goddesses and goddesses are worshipped. In Seema’s work the feminine aspect of divinity is always foregrounded and celebrated. She is Shakti after all – the constantly generating potent life force animating all existence.


The Unending Dance of light, Video still, 2014

Kishore Singh, critic and head of exhibitions and publications at Delhi Art Gallery notes that Seema’s work is unusual in presenting a point of view that is both feminine and feminist. “It is always the female in her work who has the ideas, the sense of freedom, the flights of imagination and expression,” he says. “She attempts a holistic vision but actually subscribes to female independence.” For him the great narrative of her work is empowerment: “a quest for independence, a search for inner strength, standing for yourself, but not at the cost of anyone or anything else.” This could also be the narrative of her life.

Seema flourishes on the edge of a contemporary art scene that seems to regard outward displays of religion or Indian-ness with suspicion. Seema’s work, her painting in particular is unmistakably Indian, both in its subject matter and in its form: the bright jewel colours and flat surfaces, decorated with repeated motifs in mantra like detail, calling to mind some exquisitely woven or embroidered textile. “India has vanished from the work of many artists,” says Kishore Singh, “but in one group it is still central.” “Contemporary Indian” is an interesting space he says, and one appreciated more by collectors than critics.

The Unending Dance of Light: raks e shams.

“Yajnavalkya,” Arthabhaga said again, “tell me – when a man has died, and his speech disappears into fire, his breath into the wind, his sight into the sun, his mind into the moon, his hearing into the quarters, his physical body into the earth, his soul (atman) into space, the hair of his body into trees, and his blood and semen into water – then what happens to that person?”
Brihadaranyaka Upanishad, 6th Century BCE.

“We see death as a full stop. But it is not. The energy does not stop flowing at that point. It recoups, re-forms, and moves on. Death is not the end, it is energy changing direction, coursing on again in a different form and space.”


The Unending Dance of light, Video still, 2014

The stimulus for The Unending Dance of Light was the idea of Benares or Varanasi or Kashi – the sacred city of light where so many come on pilgrimage or at the end their lives. It is said that to be cremated on the banks of the holy River Ganges takes you not to another birth but to liberation, mosksha, freedom from the cycle of birth and death.

Corpses shrouded in cloth are borne on bamboo biers through the narrow streets of the city, hastening to the burning ghats where cremation happens around the clock. Seema experiences this as a “vortex” of energy, a place where the “dance of rejuvenation” is happening in quick time and quite “nakedly”.

Thomas J Hopkins writes that “Death is as close to being universal as anything we know.” And “almost as soon as we have evidence of human culture… we have evidence of belief in some kind of afterlife… a sustained assumption that death is not the end of personal existence.”

Seema has been investigating the beliefs and death rituals of many different cultures. For her, emphatically, death is not “the end”. Even if you look at it purely scientifically – our bodies at death are recycled into elements, if buried they return to the earth, if burned to the air – there is a kind of continuity even if it is not one of “soul”.

For the “The Unending Dance of Light” video Seema performed on Varanasi’s “far shore” – the sandy eastern banks of the river across from the burning ghat of Manikarnika. The far shore provides a striking contrast to the city: devoid of buildings and people, dogs roam and birds circle in the skies above. The beauty and mayhem of the city is a cinematic backdrop across the water.


The Unending Dance of light, Video still, 2014

Seema’s performances are unrehearsed and unscripted. After research she simply puts herself in her chosen space sees what comes: giving herself up to a spontaneous interaction with the environment and the energies she perceives there. In Parikrama she ran around the yogini temple at Bheraghat in a half trance; in the Unending Dance of Light her performance is slower, more meditative.

She uses props such as the rope from the boat to represent our binding desires, and then it becomes an umbilical cord connecting all beings with the super consciousness. (The umbilical cord in her paintings is often the lotus stem.) She draws a yoni in the sand and curls up imagining the coming together of soul and body in the womb. She chances upon a small sapling and plants it in the dry sand. She rolls into and buries herself in a grave, which is also for her a womb. And at the climax of the film in the darkness against the burning fires of Manikarnika she lights her own pyre and strikes more than 100 clay pots with a bamboo rod.
From the film out to all the other works…

First time in five years she is showing works across so many different media.

Something about the unending dance of light being the journey of the soul.

Drawn to the city like other artists before her – Ram Kumar, Manu Parekh.
Cyclical nature of existence. Life-death-life. Cycles…
Interconnectedness of all things.


Video installation.
Paperworks – etchings, drawings
Photographs/Stills from video – mixed media.
Acrylic on canvas.t
Sculptural installation.
Vinyl sheets.

Her work itself can be described as an unending dance of light.



I AM is a multi-dimensional, multi-faceted art form that brings together Seema Kohli’s art and her poetry with movement and music. It combines the subtle evolution and the realization of her experiences, overlapping with the presence of people in her life that has then taken a visual form as art. Paintings, sculpture, drawings, installations, or performance, the experience and the emotion decide on which medium they wish to manifest themselves through.
In 2012 Seema Kohli, published a book ‘I AM’, combining her paintings with verses written by herself. The book came about as a result of her performance and talk done earlier as part of the TEDx talks. Performed again with an addition of music along with dance, she wishes to share the performance with the esteemed audiences of NGMA Bengaluru, using the Mirror Pool stage as a platform.

This program is made possible by
NGMA, the hub for art and culture in the city, functioning under the Ministry of Culture, Govt of India. The NGMA Bengaluru serves as a platform for both national and international exhibitions of paintings, sculptures prints, photographs and other artistic projects. Several exhibitions under the cultural exchange programme are being showcased at this three year old centre with the objective of exhibiting the best, and thus being a stage for the cultural ethos of our times in this era of globalisation. With sprawling grounds, a permanent collection, an art reference library, continuous programming for the public and particularly for children, along with a beautiful cafeteria – it has become a space for artistic exploration.

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DSC00271 NGMA banglore

And The Mahua Art Foundation.

Mahua Art Foundation was founded in 2000 with the vision of bringing about an awareness of ancient Indian heritage and contemporary art and design. The Foundation is supported by Mahua Art Gallery and has invited eminent scholars and artists for illustrated talks and performances over the years.

DSC00296SHORT PROFILE:Seema Kohli.
Seema Kohli’s works reveal a claiming of feminine subjectivities, an altered concept of feminine sexuality. Since last 30 years Seema Kohli has had over 20 solo shows in NY, Dubai, Singapore Delhi, Mumbai, Hyderabad, Bangalore. Has participated in International art fairs (Basel, Shanghai, Madrid, India). Her work can be seen as public art as murals of 10’ x 100’ at the Delhi International Airport, Mumbai International/Domestic Airport, the Defense Ministry, Tata Residency, Manipal University. She has received the Gold at Florence Biennale 2009,1 Premio “Video, the YFLO Women Achiever’s Award, the LKA National Award for Women in 2008.Her works are a part of private and public Museums including Rubin’s Museum. She has had interactive sessions at TedEx Chennai, WIN Conference Rome, Prague; NGMA Bangalore and other places. She lives and works in Delhi.