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

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)

Continue Reading

Is consciousness conscious?


Last November, I participated in ACT[Artist create together]at National Gallery of Modern Art, Banglore which was conceptualised by a group of fellowperforming artists and was led by me, Murali Cheeroth (Bangalore) and Smitha Cariappa (Bangalore) .

Artist Create together,NGMA banglore 2          Artist Create together,NGMA banglore


The idea was  to provoke an informal interaction between the artist and the audience using performance as the tool of expression and dialogue.

At NGMA Banglore.

Co-ordinated by Lina Vincent, ACT was performed at the parking lot of  NGMA Banglore, the performances by Jeetin Rangher (Kashmir),Katarina Rasic (Serbia), Dimple Shah (Bangalore), Smitha Cariappa, Murali Cheeroth, Clemence Barret (France) and Paramita Das (Kolkata/Edinburgh) drew an enthusiastic group of spectators.

My interactive performance spoke about the ‘one and many’ consciousness of being which I described in poetic verse as follows-

Am I the soul or the body?
Am I the body or its parts?
Am I within another body or there are bodies inside me

Am I the seed or am I a forest
Do I have the potential of a forest? or do I have the potential to be the forest?
Am I the creation or the creator?
Am I one or many?
Am I many in one?
Is consciousness conscious?
I try to find my answers
In color in making my body an instrument
A means where as an end

DSC00328        Artist Create together,NGMA banglore 6

DSC00357        DSC00339

  DSC00359      DSC00360
Performance of Is consciousness conscious?at NGMA,Banglore

I stood against a stark white canvas, arms outstretched, and invited the audience to paint my outline on it. Soon some people began to paint on me instead of around me provoking question of audience agency,participation and violation of one’s body.

While Bangalore put the per-formative energy to the fore,

It was a MAD RUSH!

An artist’s life can be quite hectic.I re-lived this fact recently attending three events within a week in three different cities.And I am back with a story to share.


It was a rather thrilling experience to give a talk at the W.I.N conference,Prague on Beauty,Trust and Passion  from the perspective of an artist and her work.

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Beauty, Truth, Trust, Passion .Everyone in the world searches for these, for what would life be without either? Often, we counter their exact opposites, but they are not by choice. As a woman and an artist, I am taken in by everyday beauty –a melting sunset that bleeds colours from the sky, the shape of a car, the green of a carpet of grass, lovers glancing at each other across a room full of recent strangers, a flight of birds, and the smell of coffee…

The poet John Keats must have felt something similar when he said ‘Beauty is truth, truth beauty.’ But a poet and an artist, both must acknowledge that truth means different things at different times. We have a license to manipulate truth – but what, anyway, is truth? An artist’s truth may be unlike other people’s truth. It seeks out a deeper, more metaphorical, philosophical, even unreal meaning. It might cheat a little, or a lot, or not at all. If I seek to paint love, how should I do it, for is it ephemeral?

[Excerpt from my talk at W.I.N conference Prague]


Seven in performance at Prague.I played the woman from Northern Ireland.

The gathering of highly passionate and exuberant women  from all over the world engaging in rich discussion and exchange pumped me with energy and inspiration.It was great to talk not only about my art with the World’s topmost CEO’s but also my way of reaching it.Besides the talk,I also conducted a mediation and yoga session there.I was most excited to be a part of the documentary play Seven -a story of real women from Afghanistan,Nigeria,Northern Ireland,Russia,Guatemala,Pakistan,Cambodia first performed in 2008 and toured across the globe in 11 countries to over 15000 people.Luckily,I also found a  couple of hours to myslef which I spent  strolling at the Old Town Square in Prague.


Old Town Square,Prague.

And soon it was time for the opening of my  two-person show “Stories of Invocation” at Tao Gallery,Mumbai on 5th October inaugurated by the actor Sridevi.It was great evening spent in light conversation and  my first autobiographical work “I am” was also launched.


Carrier of Energy,2013,Mixed Media on Canvas,24 x 84 inches.

Here, I shall tell you all about my work and myself.
I will not tell you how I paint. Or what I paint.
You will see that for yourself.
But I will share my world with you.
It is my private world.
I seek no approval.
MY story is YOUR story.

I am woman. I am no Eve.
Woman. South Asian. Indian.
Mother, daughter.
Feminine. Feminist.
Labels, all.
I reject labels.
Why should I be defined by labels?
Why should I conform to labels?
I represent myself, a sum of many parts.
But not a part of any sum.

[Excerpt from I am]

And the week ended with the final stopover  at Gallery Veda,Chennai where I had the chance to interact with the gorgeous Hema Malini not as an actor but as an artist and an accomplished dancer in her own right.Her vivaciousness and passion was truly infectious.

Gallery Veda

At Gallery Veda

hema malini BnW

 With Hema Malini.

Yogini-The Unifying Force

 I recently gave a talk at the  National Symposium on Return of the Yogini, Art & Crime  organised by  the National Museum, New Delhi.I was thrilled to be a part of the symposium with Dr Anubha Pande,Stella Dupuis,Haripriya Rangarajan,Madhu Khanna and others.Haripriya’s enticing talk on the Varahi iconography has got me  hunting for her books everywhere!For those who could not make it then,I am sharing a brief excerpt from my talk discussing the influence and relevance of  Yogini  on my life and my art along with a short film of the event.

The single most theme that has profoundly and incessantly influenced my art is the ancient tantric practice of Yogini worship. Yoginis are a group of female deities- sixty four or eight-one and seen as both benevolent and wish granting as well as malevolent and harmful.There are different form of Yoginis classified so based on their attributes.The horse necked Yogini is called Hayagriva while the Yogini fond of wine is called Surapriya and the terribly terrible one is called Pracanda.


It is both the iconography as well as the philosophy of the Yogini cult that inspires my work and you can find constant references to the various form of Yoginis and matrikas in my paintings, sculptures, installation and films.

What is it about the Yoginis that leaves me so fascinated and intrigued you ask?My artistic concern, interest and journey primarily revolves around the idea of creation which for me is the celebration of the feminine aspect of procreation or “shakti” which exists in balance with the male principle, Shiva, formless, undefined pure consciousness.

When He opened His eyes

She smiled

And said

Everything is Me an Mine

He closed His eyes

And United

Everything merged within

She expanded and contracted

At her own accord

With each breath

He took

As my family is a firm believer in the Advaita philosophy of Vedanta, I was introduced to the idea of Maya-Maya which as not just illusion but the creator of the illusion as well. Therefore, all creation, that which we know as the universe – the world, the seas, the sky, and people and animals alike – all bearers of the faith and those who created the faith, hence the creator of the gods too – is but Maya. The Brahman, or Param Purusha as we call him, is that unified force; the moment it disintegrates, Maya assumes her cosmic play or “khel”. She who gave us the power to create faith, beliefs and religion, in the process indirectly created the gods too. It is only when we understand Maya’s “khel” that we can aspire to the union of our inner force with that of the outer that we call Universal Truth, or Para Brahman.


There is a verse in Japji Sahib, a Sikh scripture:

Aika mai jagat vahayi, tin chale parvan

Ek samsara ek bhandari ek lai Dewan

O vaikhe o nadir na avai bahuta eho vadhan

There was Maya who created this universe, from whom emerged Brahama, the creator, Vishnu the sustainer and Mahesh the destroyer. The Brahman (the Unified Force comprising of Shiva and Shakti) creates this mystery. They see but are unseen.

As Shakti flowed, three rasas or guna emerged, from which the whole universe was created –Sattva [saraswati] Rajas [laksmi] and tamas[kali].These expanded into Saptamatrikas the AshtalakshmiNavdurgas and the Dusmahavidyas .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 .For me, the idea of Matrikas and Yoginis thus came about as our invocation of these basic energies that are responsible for creation and destruction and creation yet again.

Different forms of Yoginis exist and these different forms of Yoginis concentrate on different energies. The Yoginis which are supernatural beings have aligned their soul, mind and body as well as have achieved alignment with the environment and hence are able to take different forms.I believe that yoginis are intellectually driven and these feminine forms are very intuitive and conducive to imbibe these qualities seeking Bhairava as their companion.


These manifestations inspire me to attempt to analyze the world I see around me, 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 if we are to seek the mother goddess in the continuous spell of Maya.

I believe in that energy and it this energy that constitutes the central focus of my paintings, sculptures, installations, and video performance.

Influences in my art

Do I paint the Goddess?

Yes. No.

But I paint nature, the universe, life.

Goddesses as mortal.

Mortals who are heroic.

I am taken, in some measure, by all faiths- Hinduism, Sikhism, Christianity, Sufism, Buddhism.

My work I believe is firmly ensconced in the narrative of female form and energy constantly straddling the space between modernity and tradition. Deriving my inspiration from ancient myths and legends, philosophy, faith and literature, my work  however is never confined to the traditional iconographic rules. For me these “mythological subjects” are more “real”, more essential, permanent, and truthful – than the even the everyday.


Engaging with concepts and philosophy of ancient times, I re-narrativise and re –tell these legends giving it a modernist sensibility. My works like Swayamsidha (The Self Realised) and Hiranyagarba (The Golden Womb), Ouroboros and Tree of Life take mythological tales from the past to interpret the modern world. I not only incorporate ancient myths but create my own urban myths as I paint. I live in a metropolitan environment and when I paint, these elements from my life, from the neighborhoods and the urban skylines automatically weave themselves in. Alongside the many natural motifs in my paintings:  the birds, animals, fish, flowers, trees, sun, moon, rivers, you will find material objects from everyday life – coat hangers, ladders, handbags, sofas, film strips.My work is never restricted to the myths of any one religion or faith but shows borrowing from different faiths, belief systems and mythologies.


Performances and Shakta Sites

Reds of the morning

Blacks of the night

Yearnings of the past and the freshness of the present

All caught up in the amalgamation of five elements

Under the spell of Maya

Engulfing, floundering, celebrating

Enchanting me, seducing me

Into her world of magic, a world of dreams

And like an enchantress, holding my hand

Walking me through this inexplicable experience

Influencing me to open my thoughts to grater heights

Stringing me into watching the flight of limitless dreams

Into the discipline of happening

Making my path my destination


My video performances that once again largely engage with the similar theme of feminine energy are recording of my visit to various Shakta sites like 64 Yogini Temple, Jharial, Ranipur, Odhisha; Saptamatrika caves at Ellora (numbers 14,16, 21, 22), the Yogini temple at Bheragat near Bhopal and Mahadev Pani, near Bhopal and so on where I absorb, react and reinterpret the energy that inhabits these sacred sites.

In my quest to seek these powerful feminine energies, I have travelled far and wide, my visits taking me to strange places, exotic places, places touched with the energy of the ancient deities.I engage in a series of symbolic acts- meditating, bowing, fervent encircling of the temple, rolling on the floor, striking yogic stance, cleansing the body and so on that are reflective of the potent nature of the energy that engulfs me. By meditating beneath a giant lingam, curling myself into and then out of a hollow in the ground or by sitting  as one of the 1300 year old stone Matrikas,I attempt to become one with the headless idol, the parched earth, the distant resounding chants and the sacred geography of the site.

The visit to these Shakta Sites themselves become a part of the creative process which is undertaken within the realm of experience which is translated into the realm of expression through painting, installation, writing, filmmaking and documentation. My exploration is not only visual but is perceptual, intellectual and sensorial.



Yogini who they say struck terror, venerated

thus for their dangerous fecundity, their terrible wrath.

Yet, were they not simply fulfilling their destinies? Being protective? Nurturing?

In their zeal, they came to be represented for their darker powers, venerated in temples as goddesses to be appeased, associated with gods either as their spouses, or as

their forms of energy, female principles that have been ritualized, iconicised, cherished,


And so I undertake a journey.

A parikrama …is it of self-realization?

I empty myself.

I become the womb.

Armed with solace and caring, I am the earth. Ancient, primeval, modern, all encompassing.

So the world – all nature – tells me.

So it should tell you.

 The idea of Yoginis becomes very fascinating today because Yogini is not simply a thought and neither is her message a sermon.She is experimenting on herself through kriya and yoga through which she enters our blood, vein, bones and our soul.She comes down to subliminal levels and starts her own journey, her khel –her play with herself which takes us to new mystical heights. Is it through her journey, I search for my identity. Am I then a shaman or a priestess? A psychic or a storyteller? A Yogini or a spiritualist? A feminist or a manifestation of feminine energy? My work I believe then becomes an exploration into these realms of the self and the relationship of the self with the larger cosmos that seeks an identity, symbol and meaning.




My art revolves around the idea of feminine identity and energies.The concept of Ardhanarishawar embodies my idea of harmony and balance in the cosmos.I feel all people have a feminine side, they garb themselves in different cloaks as man and woman, but they’re both very important to balance the yin-yang of all life and energies.

I incorporate myths and imagery into lives. It is we who give them names,make them into  gods, or superhumans, but these are forces of nature without a name, faceless, because they reside within us. Ardhanarishawar resides in all of us.

With this thought,let me share a few lines I wrote some months back.

Not some hybrid creature, but man and woman united as symbols who complete the circle and the cycle of life.
Conditioned by roles, perhaps… The man, keeper of the skies, king of the universe, a symbol of strength.
The woman, domestic goddess, the nurturer, queen of the world, a symbol of all that is gentle and good.
But the woman, terrible in her wrath, a destroyer of worlds, just like Shiva, the tandav dancer, tender lover.
Not one without the other.
A complete circle of harmony.
Aligned with nature.
Nature itself.
Now benign, now harsh, now terrible.
Nature. Nurturer.
These are my stories

Seema Kohli

Dots,Lines and Some Chai

The thought of creating a blog has been on my mind for the longest time.To share not only my works with you guys but the thought and the concept behind them,to show  not only the finished artwork but also the process that is often missed.

The mystery of colour has always fascinated me.A dot expanding into a line ,taking shape on its own and assuming a movement in your imagination is so intriguing!Drawing has always been my first love,my  unrivaled passion.But I feel confident now to make transition from paper,canvas,sculpture to using my own body as a primary means of expression.Through my blog I want to introduce you to my latest works,project,travels and thought experiments.I have waited for this so long.

And finally it’s here!

So,here’s giving you a peek into the life and works of an artist.I hope you enjoy reading it!