Welcome to Samvaad, where art meets conversation, and inspiration knows no bounds. Here we engage in insightful conversations with eminent personalities from the art fraternity. Through Samvaad, Abir Pothi aims to create a platform for thought-provoking discussions, providing readers with an exclusive glimpse into the creative processes, inspirations, and experiences of these creative individuals. From curating groundbreaking exhibitions to pushing the boundaries of artistic expression, our interviews shed light on the diverse perspectives and contributions of these art luminaries. Samvaad is your ticket to connect with the visionaries who breathe life into the art world, offering unique insights and behind-the-scenes glimpses into their fascinating journeys. Over the past 35 years, Renu Modi has been a trailblazer in the Indian art world, shaping its narrative through her passion, dedication, and unwavering belief in the power of art. As the founder and director of Gallery Espace, she has curated a journey that intertwines personal relationships, cultural introspection, and artistic exploration. Established in 1989, the gallery has evolved into a dynamic platform showcasing a diverse range of art forms, including drawing, sculpture, printmaking, and installations.
Renu Modi’s unique approach stems from her close connections with legendary artists such as M.F. Husain and Zarina Hashmi, whose works and philosophies have deeply influenced her curatorial vision. Her commitment to nurturing both emerging and established talents has played a vital role in expanding the horizons of contemporary Indian art, ensuring its relevance in both local and global contexts.
This conversation with Renu Modi offers an intimate glimpse into her journey—her inspirations, challenges, and vision for the future of Gallery Espace. From introducing Husain’s autobiographical series to embracing young artists and experimenting with interdisciplinary programming, Renu Modi’s story is one of love for art, an instinct for innovation, and a belief in the transformative power of creative expression.
Nidheesh: Hello and welcome to Abir Pothi Samwaad. Today we have a very special guest, Renu Modi, who is the founder and director of Gallery Espace. This is one of the prominent galleries in New Delhi, and it was formed in 1989, so this is the 35th year of this gallery. At that time, I think the Soviet Union was there, and India has changed, and so has this whole scenario of art. The gallery has been renowned for its innovative and interdisciplinary approach to art exhibitions, hosting notable shows on drawing, sculpture, and printmaking. Renu Modi’s commitment to promoting both established and emerging artists has contributed to the evolution of contemporary Indian art over the past three decades. She’s also one of the first ones to bring Husain into Delhi. So, this is the 35th anniversary, and there’s a series of programs that Gallery Espace is starting. So we are here to talk to her. Welcome, Renu ji.
Renu Modi: Thank you.
Nidheesh: Can we start talking about these 35 years of journey? I mean, how did you start, and what are the milestones of these 35 years?
Renu Modi: The gallery opened its doors in 1989, and in many ways, its inception and my journey in art are deeply connected to Husain Sa’ab. He designed my house in 1986—the only piece of architecture he ever created besides his films. He used to take great pride in this, often saying, “I’ve made a few films, but this house—this three-dimensional sculpture—was an opportunity you gave me to experiment with your money.” We moved into the house in 1986, though the design work started in 1985.
I had known Husain Sa’ab since around 1980 or 1981. My family had been collecting his works, and when we finally met, we clicked instantly. We had a large family, and he often visited, sharing stories about his life, art, and ideas. Many of his works on the Emergency were first shown to me, and through him, I was introduced not only to his art but to art in general.
In 1989, during one of our conversations, Husain Sa’ab and his friend, Rashida Siddiqui, suggested I open a gallery. He encouraged me, saying, “Open it, open it.” In our family, women weren’t traditionally engaged in business or professional work, but Husain Sa’ab’s enthusiasm was infectious. He even helped me look for a space in Delhi and designed my logo. We explored locations, including Hauz Khas Village, but he found it too dusty. Ultimately, my husband suggested his boardroom, which became the site of the first Espace gallery.
Husain Sa’ab generously offered to do the inaugural show, showcasing his autobiographical series that depicted his life up to the age of 14. He personally installed the 22 works in the small space, making it an emotional and memorable moment. Following this, Lakshma Gaur, another artist whose works we had collected, offered to do the second show. It was through him that I learned about the anatomy of the human figure and the essence of drawing.
My approach to art and curation was shaped by my interactions and conversations with these masters. I did not start the gallery for financial reasons—it was purely out of love for art. The early shows, including those by Ananda Moy Banerji and Dattatraya Apte, marked the beginning of a journey that was deeply personal and passionate.
Within a year, I moved to a larger space, taking over my husband’s emptied office on the ground floor. Over the years, I expanded gradually, acquiring more space as the gallery grew. A turning point for Espace came in 1994. The early 1990s were a period of significant change, with the art market just beginning to emerge. Back then, the art world was unstructured and informal, driven by passion rather than strategy. It was a time when relationships between artists, gallery owners, and collectors were warm and collaborative.
During this time, I realized the importance of drawing, thanks to Husain Sa’ab and artists like Manjeet Bawa. Their insights into line, form, and light deepened my understanding. Swaminathan also played a crucial role; I held his watercolour show in 1991-1992. Visiting his studio and engaging in conversations with him and other artists enriched my perspective on art.
Publications were another gap I noticed in Indian art during the early years. The government offered little support, and galleries had to take the lead in documenting and promoting art. With every major show, I ensured there was a catalogue or book. In 1993, I approached Prayag Shukla to curate a show—though the concept of art curation wasn’t well-established in India then. This collaboration resulted in a landmark exhibition in 1994 featuring 80 artists, from Gaitonde to emerging talents like Subodh Gupta and Shambhavi. It was a comprehensive exploration of drawing as a medium, accompanied by informal discussions, or baithaks, with artists like Swaminathan.
Husain Sa’ab’s influence extended beyond drawing to sculpture. His teachings, often indirect, about light, form, and space ignited my love for sculptures. Over the years, Espace has focused on showcasing works I genuinely admire—drawings works on paper, and sculptures—while ensuring they remain relevant to contemporary times. For me, art is not about trends but about its relevance and resonance with the present.
Contributor
