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.
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Nidheesh: Tell me more about Zarina and your experience with her. I find her fascinating. I mean, I love how, with such minimal coordinates, she could open up so much space. She was amazing at that—so subtle and minimal.
Renu Modi: I firmly believe that an artist’s life is an extension of their work if they are truly an artist. Husain Sa’ab embodied this idea, and so did Zarina. I knew her so well that even in her conversations—whether in Hindi or English—you could sense her emotions. When she spoke in Hindi, her pain and concern for humanity, especially for the Rohingya refugees, were palpable.
Her work reflected these concerns. For instance, I once asked her about a piece featuring waves. She explained, “I was thinking about those who leave their country, adrift on dark waters at night. How insecure they must feel.” Themes like the loss of home and identity were integral to her work, becoming almost like her second DNA. Her fascination with spaces and structures, particularly Islamic architecture, deeply influenced her creations.
I remember a large drawing she made after visiting Confucius’ house in China—a pathway with shadows. She described it beautifully, saying, “Shadows, mere liye ek landscape hai” (shadows are like landscapes to me). When critics questioned her use of gold, she dismissed them with a smile, saying, “Gold is not just material; it is the soul of the night.” She even used volcanic ash and obsidian in her work, remarking, “Every soul has a dark side and a light side.”
Her exploration of fences symbolized division—of communities, countries, and even thoughts. When I asked her about it, she said, “Yeh mera ek tarika hai division ko samajhne ka aur usko represent karne ka” (this is my way of understanding and representing division). Zarina often began her creative process with a beloved Urdu word, which would evoke vivid images in her mind, inspiring her work over several days.
My relationship with Zarina was both professional and deeply personal. Before every show, I would visit her in New York to discuss her works. We shared countless conversations—about poetry, films, family, and even life advice. Once, she advised me against opening a gallery in New York, saying, “Why would you run around so much? You need to be here.” I respected her wisdom and often followed her advice.
One of my fondest memories was when she showed me her cast paper works, which were stored under beds and shelves. These pieces were stunning. When I suggested showcasing them, she humbly asked, “You really think so?” I knew they offered a fresh perspective on her art.
Our journey began in 1997 when I saw her work curated by Anupam Sud for a print show at the British Council. I immediately called her and said, “I don’t know if your work will sell, but I want to have your show.” Although sales were limited initially, I believed in her art. By 2000, she created the iconic Home is a Foreign Place, a series exploring the idea of home. It featured 36 pieces, divided into sets of six. The National Gallery of Modern Art (NGMA) purchased a set, and others followed. Zarina’s gratitude was evident when she wrote in the catalog, “Renu is home away from home.”
Her golden houses, hand-stitched, were deeply symbolic. I once asked her, “What are you doing?” She replied, “I am stitching my house.” Her work always spoke volumes with its simplicity and depth. In my home, I have two of her pieces—one contributed to her foundation and another my children bought. Each piece resonates with her profound understanding of what “home” means.
Zarina was one of the most unique artists I’ve worked with. Our bond was organic, nurtured over time, and deeply human. It transcended the transactional world of art, rooted instead in mutual respect, understanding, and shared passion.
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