Malay Saha renews artistic dialogue at a Kolkata exhibition

The Bridging Culture & Arts Foundation (B-CAF) brought to the city a solo exhibition titled Silent Narratives: Object in Dialogue by acclaimed artist Malay Saha, marking his return to the art scene after a twelve-year hiatus. The exhibition signaled a renewed engagement with his artistic journey, allowing for a more nuanced exploration of his evolution—with subtlety and quiet conviction.



The Foundation rekindled its original vision by creatively merging artistic and personal connections. Guests were invited to select a common object—perhaps a teapot, pen, or spoon—and share its personal significance, revealing the memories and symbolism it held for them. This imaginative approach fostered a fascinating interplay of perspectives and enriched dialogue among artists, guests, and visitors.



From isolation to symbolism:



Malay, a contemporary artist from Kala Bhavan, Santiniketan, is a recipient of the Pollock-Krasner Foundation Grant. His works are housed in prestigious collections, including the National Gallery of Modern Art and the Botswana National Museum. His artistic journey, shaped by his formative years in Santiniketan during the Communist era, is marked by a deep engagement with materiality, space, and power dynamics. Feelings of isolation during this period led him to imbue domestic objects—chairs, beds, and pillows—with layered meanings. What began as mere representations of everyday items gradually evolved into potent political symbols. The chair, in particular, emerged as a recurring motif; its anthropomorphic form embodied both presence and absence—a structure of power he felt was missing in his own life as a student navigating institutional hierarchies.

Malay’s fascination with miniature painting—with its multiple viewpoints and fluid spatial constructions—plays a critical role in his practice. His engagement with this tradition was further deepened by his evening sessions with his teacher, K.G. Subramanyan, whose own explorations of multi-perspective compositions profoundly influenced his approach. The division of space within his canvases, the rejection of a singular vanishing point, and the construction of fragmented yet cohesive narratives all reflect this lineage. In his works, perspective is not fixed but shifts dynamically, compelling the viewer to engage with an active gaze.

“My work is not conceptual; it is purely visual, as I give primary importance to the act of seeing,” says Malay.



Tactile memories on canvas

His surfaces are often textured with a meticulous stitch-like pattern—a tactile memory derived from the coarse, woven duri upon which he once slept. This painstaking mark-making becomes an act of inscription—a form of labour that embeds personal history into the canvas, evoking both endurance and impermanence. The repetitive process mirrors the physicality of embroidery and weaving, transforming texture into both a visual and haptic experience.



“In this new body of work, Malay has made a decisive shift in form—from the structured geometries of squares and rectangles to the fluidity of circles. This movement signals an expansion of his spatial explorations, offering a sense of continuity rather than containment. Additionally, he introduces a radical departure from his earlier two-dimensional compositions by incorporating layered paper structures that elevate the surface. This shift invites the viewer into his space—a stark contrast to his previous works, where engagement remained observational, confined to a distant, multi-view perspective,” said Reena Dewan, curator of the show.



The exhibition is scheduled to run from 19th April to 3rd May, 2025, from 4–8 pm (except Mondays) at B-CAF.