Arthub.archee

Arthub.archee CHHAAP: Tales of Prints

Spring arrives like a quiet reminder from nature—to embrace colour once again, to return to the gentle rhythms of the ea...
06/03/2026

Spring arrives like a quiet reminder from nature—to embrace colour once again, to return to the gentle rhythms of the earth. Every year nature teaches us the same profound lesson: colours bloom, fade, disappear, and yet return with renewed life.
One night, while holding my brush, I found myself thinking about the patterns of nature—the soft flow of colours within a flower, the mysterious way petals unfold. In my imagination I could almost witness the birth of a flower itself. The forms appeared spontaneously, as if the brush already knew where the colours wanted to go.
From that quiet moment this small series emerged. Each piece carries the memory of spring—its tenderness, its fleeting beauty, its promise of renewal. These works have already travelled away as small spring invitations to a few dear friends and comrades.
This series remains very close to my heart. Because sometimes art does not come from technique or intention—it comes when the heart begins to paint, and in that moment you simply witness the quiet beauty of a flower being born. 🌸

Middle of the night when colours speak to you.Work in Progress.Series: Yet to be named...
06/03/2026

Middle of the night when colours speak to you.

Work in Progress.

Series: Yet to be named...

Recently, at Chayaghar Cafe, a longing I had carried for a long time finally found a wall to breathe on. What began as a...
02/03/2026

Recently, at Chayaghar Cafe, a longing I had carried for a long time finally found a wall to breathe on. What began as a desire to paint became a collective act of love. The space opened itself to us, and we—together—poured colour, memory, and rhythm into it.
The composition, though conceptualised by me, belongs to all of us who held the brushes.
I drew inspiration from Sohrai Tribal Art of Jharkhand—a traditional mural practice created primarily by Adivasi women during the Sohrai harvest festival. Historically, Sohrai paintings are made on freshly plastered mud walls using natural pigments—red ochre, black manganese, white kaolin, and earth yellows. The motifs—cows, peacocks, deer, birds, vines, seeds, and rhythmic geometric patterns—emerge from an intimate relationship between women, cattle, forest, fertility, and land. It is an art of gratitude, survival, and ecological memory. A living archive on walls.
In our mural, I began to see the wall as a woman’s body.
The background—red mud—became skin, soil, womb, and wound at once. Upon it, we painted powerful and fantastical creatures: cow, peacock, owl, caterpillar—figures that move between myth and ecology. They inhabit a jungle that is not outside us but within us. Nature is not backdrop; it is bloodstream.
As women working collectively, we were not merely decorating a café wall—we were reclaiming surface as narrative space. The woman’s body in the mural becomes landscape. She carries forests in her spine, rivers in her veins, and animal memory in her breath. She carries history. She carries labour. She carries migration. She carries silence and sound.
The patterns were spontaneous—rhythm-based, intuitive—like Sohrai itself.
For me, using Sohrai motifs was not aesthetic borrowing—it was invoking a lineage of women who painted survival onto walls despite erasure.
This wall is a woman.
And we, together, became its pulse.

'What I See.'Last year a few glimpses of my work.
01/03/2026

'What I See.'

Last year a few glimpses of my work.

Observation, work, life...
17/11/2025

Observation, work, life...

Lights are enough to celebrate.Fire Crackers, chocolate bombs are unnecessary.Let there be lights without noise.
19/10/2025

Lights are enough to celebrate.
Fire Crackers, chocolate bombs are unnecessary.

Let there be lights without noise.

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