Gallerist, collector, and philanthropist Aparajita Jain sees a future full of narrative, environmental, and tech-driven art, alongside a fast-growing collector community. Based in New Delhi, Jain grew up in a family steeped in Indian arts and culture. Appreciating the benefits of larger local and international audiences being exposed to art, she expressed to Whitewall a desire to expand access to public art in India. She also shared why, within her role as Executive Director at Nature Morte, getting artists’ work in museums around the world is central to her mission.
This year, the premier gallery will present new works by Sagarika Sundaram, Manu Parekh, Nidhi Agarwal, and showcase the fifth edition of Sculpture Park at the Jaigarh Fort in Jaipur.
Installation view of “Sagarika Sundaram: Polyphony” at Nature Morte, courtesy of the artist and Nature Morte.
WHITEWALL: You grew up in a family that was involved in the arts and culture that collected. What are some of your early art memories?
APARAJITA JAIN: One of my earliest memories is staring at this large and yet delicate painting by Hemen Mazumdar at our home. I would just spend time just staring at it, very intrigued by the depth and sometimes by the imagery. Another time, my grandmother sat me down and explained to me the subtle nuances of a Ram Kinkar Baij. A lot of the conversation with her was around the arts, from folklore to the classical arts to Bengal School. In school, we were taught about Impressionism and Post-Impressionist art. A lot of otherwise disconnected moments came together to propel my love for art.
Aparajita Jain, Executive Director at Nature Morte
Aparajita Jain, courtesy of Nature Morte.
WW: Nature Morte is one of India’s leading galleries today. How would you describe your role as Executive Director?
AJ: Most of the artists on our roster are established names. The first step toward elevating them internationally is to elevate the phenomenon of Indian art internationally. I think that India hasn’t gotten the space she deserves in the international world, and I think that we’re in a unique position to help do that. In the two decades since I joined Nature Morte, my objective has been to show the world how our artists make the personal global. Almost all of our artists have practices that are rooted in their personal experiences, but their art has a global resonance, with themes like environment, identity politics, and technology.
“My objective has been to show the world how our artists make the personal global,”
Aparajita Jain
Installation view of “Sagarika Sundaram: Polyphony” at Nature Morte, courtesy of the artist and Nature Morte.
We are also trying to accomplish this through collaborations with international museums and galleries. Only last year, we had Bharti Kher’s showcase at Yorkshire Sculpture Park, and Thukral and Tagra at SCAD in Savannah. Artists are the cornerstones of Nature Morte, and while sales are imperative for both the gallery and the artist, it is also our objective to establish our artists as global voices that need to be seen and heard.
Our aim with our collectors goes beyond the sheer act of seeing a work of art. We ensure they know why they are buying a particular piece of art. Sometimes, it is passion, and we guide them in finding a piece of work that aligns with their sensibilities. When a purchase is for asset diversification, we advise them accordingly, but nothing compromises the integrity of the artistic process.
Installation view of “Sagarika Sundaram: Polyphony” at Nature Morte, courtesy of the artist and Nature Morte.
WW: How have you seen the Indian contemporary art market evolve over the past decade? What is exciting about the market at the moment?
AJ: The numbers are evidence that the Indian contemporary art market has been robust through the last decade, and it is only going to grow further. The auction market for Indian contemporary art has gone up by 265% since 2013! A lot of it, I believe, depends on the way galleries contribute toward diversifying the market. In India, in the last decade, many contemporary art galleries have come up, many of which we often collaborate with, particularly for The Sculpture Park in Jaipur. As galleries introduce new names—younger artists—it opens up opportunities for younger collectors to buy art, making the market more dynamic. Just the fact that India Art Fair now has a dedicated Young Collectors’ Program two years in a row is saying something.
I find this thrust on emerging artists quite interesting. The new generation of both artists and collectors is heavily invested in technology, and it is quite interesting how galleries are bringing them together. It also reflects the evolving times, capturing the addition of technology as a legitimate medium of art rather than a tool for the lazy. As a gallerist, witnessing and facilitating this evolution is quite enriching.
The Future of the Indian Art World
WW: Looking ahead to the next five years, what do you think we’ll see more of in India and abroad for South Asian artists?
AJ: I think art is one of India’s biggest soft powers. There’s no one quite like us. The diversity of the country, which only expands exponentially when we look at the South Asian region, is unparalleled. There has been a growing interest in Indian and South Asian artists from institutions and collectors abroad. I think that is because of the region’s rich history, and artists are constantly deep-diving into it to create art that resonates with viewers today. I think we will see more narrative-driven art, where artists look into their personal stories and extrapolate them to build a universal narrative. Art addressing environmental issues will continue to thrive. Tech-driven art is also going to thrive.
“I think art is one of India’s biggest soft powers,”
Aparajita Jain
Installation view of “Sagarika Sundaram: Polyphony” at Nature Morte, courtesy of the artist and Nature Morte.
