Manisha Gera Baswani

Manisha Gera Baswani

Manisha Gera Baswani is a painter, photographer and occasional writer.

Manisha’s visual language is defined by an assertiveness that makes visible the universe of the mind, not just that of the eye. Her works offer the viewer different encounters, each of them treated with great painterly precision. Her compositions deal with spatial geometries and move towards abstraction of realistic details. Though her elements are a representation of the mundane, she imbues each with an imaginative possibility of colour and form, transforming them into the exotic. Each rhythmic composition she creates becomes a testimony to her joy in the act of painting.

Manisha has also been working on a photography project, ‘Artist through the lens’, for the last 17 years. The ongoing project focuses on photographing Indian and Pakistani artists in their studios and creative spaces. An extension of this is ‘Postcards from Home’, a project on the Partition of India. Manisha’s parents came to India from Pakistan in 1947 when India was partitioned, and even now recall with love their ‘home’ lost . This emotion was the seed that grew into ‘Postcards from Home’. The project comprises 47 artists from Pakistan and India who share a connection with pre–Partition India. The ‘postcards’ feature the artists photographed in their creative spaces, along with short texts about what tugs at their heart when they reminisce about the ‘home’ lost. Manisha has even delivered a TEDx talk on the genesis, the spirit and evolution of ‘Postcards From Home’ (https://www.youtube.com/watch?v=c5KFKWL9U5U).

She also writes a regular photo essay, ‘Fly on the Wall’, in the leading Indian art quarterly ‘Take on Art’, besides the occasional piece on her practice, on art and artists for various magazines and journals. She has also recently curated a show of the senior artist and her teacher, A Ramachandran, ‘The Changing Mood of the Lotus Pond and Insignificant Incarnations’.

She lives in Gurgaon with her husband and two sons.

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