There are some places that don’t just host exhibitions – they become them. Today, I stepped into one such space at the Lalit Kala Akademi, Regional Centre, Bhubaneswar. The “I AM WITH NATURE” painting exhibition, organised by Ketaki Foundation Trust, felt less like a curated show and more like a living memory of Similipal itself – soft, silent, and full of stories waiting to unfold.
The exhibition, open from 26th to 31st March 2025, features 20 works born from the Lulung Painters’ Camp held deep within the Similipal Biosphere Reserve in September 2024. But it offers more than paintings. It offers presence. It offers pause. It asks you to walk not just through a gallery, but through a forest remembered on canvas.
The inaugural ceremony was graced by voices that felt rooted and visionary. Renowned sculptor Padma Shri Adwaita Gadanayak spoke of nature as the first inspiration. Prof. Prasan K Swain, Vice-Chancellor, Utkal University of Culture emphasized how such camps bridge academic learning and lived experience. Ramakrishna Vedala, Regional Secretary of Lalit Kala Akademi, Bhubaneswar, spoke of the need to preserve such immersive art experiences that connect deeply with local ecology and lived realities. Dr. Samrat Gouda, IFS with the eye of a conservationist, spoke of future collaborations between art and ecology.
The event also marked the release of a special catalogue, thoughtfully documenting the artists’ reflections, creative processes, and their deep engagement with the soul of Similipal.
I had meaningful conversations with Mr. Ramahari Jena – the convenor and guiding force behind the camp, who spoke not about organizing, but about listening. And Mr. Jyotiranjan Swain, Managing Trustee of Ketaki Foundation Trust, whose commitment to art, community, and inclusiveness glowed in every gesture.
A Journey Through Silence, Soil & Story
As I moved through the hall, camera in hand, I wasn’t just documenting art, I was listening. Every brushstroke felt like a leaf turning. Every canvas whispered something about silence, time, memory. These weren’t distant landscapes or imagined forests. They were lived experiences – interpreted by ten extraordinary artists who had sat with the wilderness, heard its heartbeat, and translated its quiet truth into color.
Some works pulsed with abstraction. Others spoke through figuration. But all of them breathed together in one rhythm: Similipal’s. I found myself standing longer than I usually do. Not for analysis – but for feeling. The kind of feeling that stays with you like the scent of rain on bark, or a trail remembered by your feet.
This exhibition belongs to ten brilliant creators, each of whom walked through the woods with open senses and returned not with answers, but with reflections: Chakradhar Behera, Gaurang Bariki, Kishore Kumar Sahoo, Lipishree Nayak, Nilanshu Bala Sasamal, Pratul Kumar Dash, Subhendu Mishra, Subrat Kumar Mullick, Tapan Kumar Dash, and Tribhuwan Kumar Deo.
I had the privilege of knowing most of them personally and meeting some of them, talking, photographing, and listening to their personal stories behind the works during inaguration. Being in their presence was like being among storytellers of a different language—a language made of pigment, silence, and space.
Now, let’s step closer – into the minds and memories of the ten Artists, where each canvas becomes a personal dialogue with Nature.
Artist: Chakradhar Behera
Titles of the Works:
• Eye of the Wild
• The Lost Paradise
Medium: Acrylic on Canvas
Size: 76 x 91 cm each
As I stood before Chakradhar Behera’s canvases, it felt like the jungle was watching me back. His work Eye of the Wild stares straight into the heart of our collective conscience. A tiger, poised and present, lies within a perfect circular window—half lush, half stark—as if split between memory and reality. The background, rich in earthy textures and tiger paw imprints, felt like a sacred surface—part shrine, part warning. This isn’t just a painting. It’s a threshold. The circular frame doesn’t merely hold the tiger; it cages time itself. I found myself wondering: How long before this balance tips? Is this wildness still ours—or only an image we preserve?
The Lost Paradise struck me in a different way. A triptych-like canvas, it unfolds across three emotional zones. On one side, ghostly animals—deer, bear, antelope—seem to fade into time, their presence more memory than matter. In the center, a tattered plastic bag spills its contents—trash, a doll, a can, a worn-out shoe—almost like an offering we’ve left behind for the wilderness. And on the far end, flat grey fragments flutter like warnings, like ash. It felt like a broken timeline—an elegy for what was once whole.
As a viewer, I was haunted, but also held. These paintings don’t demand your attention—they quietly disarm you. His compositions are neither chaotic nor overly structured—they’re symbolic, serene, and steeped in ethical urgency.
From a critical lens, Mr. Behera’s style continues to evolve with increasing philosophical depth. Rooted in ecological storytelling, his art is never preachy—it mourns, reflects, and listens. His use of muted tones, soft textures, and split compositions reminds us that we are both the witness and the cause of what is slipping away.
About the Artist:
Born in 1968 in Cuttack, Dr. Chakradhar Behera holds a PhD in Painting from BHU, Varanasi. His academic grounding lends a thoughtful depth to his art. With his works featured in national collections like NGMA and Lalit Kala Akademi, he has participated in numerous prestigious exhibitions and camps. Currently, he serves as an Associate Professor in Painting at Utkal University of Culture, Bhubaneswar. His works are meditative spaces—quietly reflective, yet resonating with powerful truths.
Artist: Gaurang Bariki
Titles of the Works:
• Tranquil of Nature
• Raag Hansdwani
Medium: Oil and Acrylic on Canvas
Size: 91 x 76 cm each
Standing before Gaurang Bariki’s paintings, I felt like I was listening to two different songs from the same forest. Tranquil of Nature holds its silence with reverence. The deep greens, the gentle deer, the untouched density of trees—all seemed to breathe in unison. It felt less like a painting and more like a moment paused in the wilderness, where nature stands in full awareness of its own sanctity. The details—the foliage in the foreground, the shifting light—draw you in slowly. It’s a scene not just observed, but remembered.
Raag Hansdwani, on the other hand, is a celebration. It’s a gathering of celestial musicians, painted in bold outlines and rhythmic color planes that recall the traditions of Odisha’s classical and folk art. The figures radiate an inner music, as if the entire composition is swaying to the vibrations of the titular raga. With every instrument and posture, the painting invokes sound through silence—a visual symphony born of memory and devotion.
From a critic’s lens, Gaurang’s works balance symbolic clarity with spiritual intensity. His approach borrows from classical aesthetics, yet his themes remain deeply personal. One canvas contemplates; the other sings. Together, they form a harmonious diptych—of nature’s stillness and the human soul’s yearning to become part of that stillness through art.
About the Artist:
Born in 1958 in Cuttack, Gaurang Bariki completed his diploma in Fine Arts from Govt. College of Art & Crafts, Khallikote. His decades-long career has been marked by national and international exhibitions, and his works have been collected in both Indian and overseas collections. Known for his philosophical approach to painting, Gaurang’s art offers a space of stillness—a kind of visual meditation that opens more questions than it answers.
Artist: Kishore Kumar Sahoo
Titles of the Works:
• Timeless Moment with Nature I
• Timeless Moment with Nature II
Medium: Oil and Acrylic on Canvas
Size: 91 x 76 cm each
Kishore Kumar Sahoo’s Timeless Moment with Nature I & II are vibrant celebrations of coexistence. Standing before the canvases, I felt I had stepped into a forest where time stands still and every creature is alive with silent purpose. In the first, two deer peer through a patterned world of yellow blooms and lush foliage—still, alert, and entirely at home. There is something both graphic and graceful in how the plants weave around the animals, as if the forest is not a background, but a participant in their presence.
The second canvas is alive with tension and balance. A tiger, regal yet cautious, occupies the lower frame, while above it, a woven nest of baya weaver birds is suspended in a labyrinth of yellow and green. Black birds flutter around, and the air seems to hum with invisible energy. Despite the stylized forms, there’s a real sense of ecology—every line, every leaf, seems to know its role.
From a critical lens, Kishore’s strength lies in how he merges folk motifs with a contemporary visual rhythm. The symmetrical flatness, the decorative patterning, the emotive animals—all contribute to a visual language that is rooted in tradition but speaks with a modern tone. These are not just decorative works—they are meditations on observation, silence, and survival.
About the Artist:
Born in 1980 in Kendrapara, Kishore Kumar Sahoo completed his graduation from B.K. College of Art & Crafts. His works have been exhibited in India and abroad, with a recent showcase at Kamaria Gallery, Malaysia. A recipient of national honors since 2005, Kishore continues to explore the deep connections between identity, folklore, and the natural world. What I admire most is how his art speaks softly—but lingers like a song you want to hear again.
Artist: Lipishree Nayak
Titles of the Works:
• Lost
• Lush
Medium: Acrylic on Canvas
Size: 91 x 76 cm each
As I stood in front of Lipishree Nayak’s Lost and Lush, I felt time slip into another rhythm—slow, hushed, almost liquid. The palette of midnight blues and deep greens felt like stepping into an inner forest, one woven not with leaves, but with thoughts and dreams.
In Lost, a solitary female figure gently reaches out toward glowing orbs that seem to float between memory and mystery. Her body is translucent, her gesture quiet. The entire canvas feels like a liminal space—perhaps underwater, perhaps between sleep and waking—where emotions don’t speak but shimmer.
Lush unfolds with greater emotional depth. A woman lies curled on the forest floor, vulnerable yet protected. Above her, green pods hang like lanterns of memory—each containing glimpses of animals, forests, and perhaps forgotten selves. The composition radiates warmth and womb-like safety, but also a longing. Is she remembering nature, or becoming one with it?
From a critical lens, Lipishree’s work is steeped in introspection. Her dreamlike figuration, subtle layering, and psychological landscapes open a dialogue between feminine experience, ecological belonging, and emotional resilience. These paintings are not about nature—they are nature, reimagined from within.
About the Artist:
Born in 1973 in Cuttack, Lipishree Nayak completed her B.F.A. from B.K. College of Art &Crafts and M.F.A. from Kalakhetra. Honored with the State and National Lalit Kala Akademi Awards, she has exhibited widely, including at NGMA, SCZCC, and NZCC. Alongside her art practice, she’s a dedicated educator, nurturing young talents at institutions like DAV and HSDAC. Lipishree’s work is deeply introspective—reflecting not only on the world outside, but also on the quiet transformations that happen within.
Artist: Nilanshu Bala Sasamal
Titles of the Works:
• Women, Nature and the Circle of Life
• Threads of Existence
Medium: Acrylic and Thread on Canvas
Size: 91 x 76 cm each
Standing before Nilanshu Bala Sasamal’s works, I felt as though I was looking not at paintings but at living documents of resilience. Women, Nature and the Circle of Life is a sea of blue-tinted female forms—each face different, each gaze quietly insistent. In the heart of this collective presence, a red thread-circle glows, cradling a pair of floating feet and a single plant rising like hope from the soil of shared history. The visual symmetry evokes the sacred and the cyclical—of womanhood, of earth, of survival.
Threads of Existence, on the other hand, brings you face to face with introspection. A monochrome female face—split and echoed—dominates the canvas, framed by geometric patterns and vivid orange threads that slice the space like borders or lifelines. Blue butterflies flutter between these lines, tender symbols of transformation amidst restriction. Here, thread isn’t just medium—it is metaphor: for connection, for memory, for the fragile yet defiant self.
Critically, Nilanshu’s practice walks the tightrope between stillness and assertion. Her textures, patterns, and use of thread create a multi-sensory experience—one that speaks of gender, visibility, and the tangled beauty of being. These are not just portraits; they are stitched testaments to feminine endurance.
About the Artist:
Born in 1983 in Nayagarh, Nilanshu Bala Sasamal earned her master’s degree in Fine Arts from Utkal University of Culture, Bhubaneswar. With a practice spanning public installations, community art, and exhibition work, she has been recognized with the Best Atmospheric Designer Award at the 10th Anjali National Children’s Festival and contributed significantly to projects like the Tirupati Airport Beautification, the Raza Foundation, and educational programs at NGMA. Her artistic voice is thoughtful, political, and quietly powerful—carving space for conversation through calm yet compelling visual language.
Artist: Pratul Kumar Dash
Title of the Work: Mind Wonders (Diptych)
Medium: Acrylic on Canvas
Size: 91 x 152 cm
The moment I stood before Mind Wonders, I felt as though I had entered a quiet galaxy suspended in time—a dreamscape painted not just with color, but with consciousness itself. This expansive diptych by Pratul Kumar Dash doesn’t reveal its narrative immediately. Instead, it asks you to slow down. To notice. To feel.
Specks of red and ochre dot the black and indigo void like fading constellations. Wisps of pale, almost phantom-like forms float across the surface—tiny human figures, creatures, or symbols that seem to flicker in and out of perception. The diptych format adds to the sense of duality: mind and matter, seen and unseen, memory and imagination. There’s no central protagonist here; instead, the canvas becomes a landscape of thoughts—fluid, weightless, and layered.
At first glance, the work might appear minimal, even abstract. But stay a little longer, and it transforms into something vast—like the mental terrain of someone deep in meditation, or perhaps, caught between recollection and revelation. It reminded me of how thoughts move when the world is quiet—erratically, invisibly, yet always pulsing.
From an critic’s perspective, Pratul’s mastery lies in his ability to hold tension without chaos. Mind Wonders is neither chaotic nor still—it breathes. His brushwork here is not ornamental but orchestral, creating rhythms of rest and rupture. The void isn’t emptiness; it’s a space where imagination unfurls.
What makes this work especially significant is how it extends Dash’s lifelong exploration of ecological grief, urban decay, displacement, and psychological terrain. In contrast to his more literal or performative works, Mind Wonders feels like a distilled poem—a meditative retreat from noise, yet echoing with complex emotion. The choice of a dark palette, fragmented symbols, and subtle figuration renders this work a meditative cosmos—a mind map of wonder and wandering.
About the Artist:
Born in 1974 in Sambalpur, Odisha, Pratul Kumar Dash is one of the most celebrated names in contemporary art landscape. After completing his post-graduation from the College of Art, New Delhi, he received the prestigious Inlaks Foundation Award and pursued further studies in Italy—experiences that expanded his engagement with global contemporary practices. Pratul’s oeuvre spans painting, video, land art, photography, and performance, all unified by a deep concern for environmental change, displacement, and the psychological effects of modernity.
His works have been featured in major exhibitions both in India and abroad and are part of esteemed collections including the Kiran Nadar Museum of Art, SCZCC Nagpur, ITM University, and various global collectors. What distinguishes him is his ability to transform complex ideas into poetic experiences. Whether using the landscape as a metaphor or the body as a site of negotiation, Pratul’s art consistently asks: What does it mean to belong, to remember, and to endure?
Artist: Subhendu Mishra
Titles of the Works:
• Lupta
• Lupta
Medium: Acrylic on Canvas
Size: 76 x 91 cm each
There is something hauntingly alive in Subhendu Mishra’s diptych Lupta. These works aren’t merely paintings—they’re monuments to memory, cultural decay, and the silent cry of a performative heritage slipping into obscurity. The bold presence of theatrical masks—real, protruding, sculptural—emerges from the canvas like ancestral spirits demanding to be seen. They are not worn by anyone, and yet, they wear the entire history of a community.
The first piece presents a fierce Hanuman-like mask mounted against a backdrop of muted folklore—figures barely clinging to the wall behind, like timeworn murals fading from memory. The composition cleverly blurs the boundary between object and narrative. The second canvas features a larger, lion-like face—its tongue extended, its expression animated, yet frozen. Behind it, an earth-toned wash hints at tribal war dances, processions, and oral stories too fragile for written language.
As a viewer, I couldn’t look away. These were not just artworks—they were performances paused mid-breath. The masks confronted me, not with violence, but with the urgency of a vanishing tradition.
From a critical perspective, Subhendu’s work masterfully interweaves sculptural form with painted illusion. His practice draws deeply from Odisha’s ritualistic art, particularly mask-making and folk theatre. By combining three-dimensional realism with ghostly, fading backdrops, he elevates the conversation from nostalgia to cultural warning. The title Lupta—meaning “vanished”—resonates deeply in both form and content.
About the Artist:
Born in 1991 in Puri, Odisha, Subhendu Mishra completed his MFA from JJ School of Art, Mumbai. His works have been featured in several national and international group exhibitions and art festivals, including AIFACS and the UDADHI. A recipient of multiple awards such as the Prafulla Dahanukar Art Foundation Award and the State Award from the Department of Tourism & Culture, Government of Odisha, he continues to work as an independent artist. Subhendu’s work thoughtfully bridges cultural history with modern visual storytelling, allowing memory and metaphor to meet in layered, engaging ways.
Artist: Subrat Kumar Mullick
Titles of the Works:
• Nature Within I
• Nature Within II
Medium: Acrylic on Canvas
Size: 76 x 91 cm each
Subrat Kumar Mullick’s canvases do not merely depict landscapes—they breathe with them. Standing before Nature Within I and Nature Within II, I felt the terrain whispering its stories. The brushstrokes are soft but deliberate, guiding the viewer along winding rivers, over gentle hills, and through fields bathed in changing light. These are not imagined vistas—they feel walked, remembered, and loved.
In Nature Within I, the landscape opens up gradually—terraced fields cascading into a valley where a snake-like train glides silently, almost as if it’s part of the forest itself. The early light plays across the mountains like a blessing. Meanwhile, Nature Within II pulls us deeper into the green—a river meanders with quiet persistence, carving its way through thick foliage. There’s no drama here, just a steady sense of presence. Everything is grounded, serene, and deeply personal. As a viewer, I felt soothed and stilled. These paintings seem to say: “Pause, the world is still here.”
From a critical lens, Subrat’s works reflect a masterful blend of natural observation and emotional intimacy. His landscapes aren’t idealized—they’re textured with the lived experience of someone who knows the forest paths, the flow of light on hills, the silence of water. The rhythm of foliage, the layering of tone, and the spatial harmony suggest not just technical proficiency but spiritual connection. These works are not about escape—they’re about return.
About the Artist:
Born in 1965 in Jajpur, Odisha, Subrat Kumar Mullick earned his Master’s in Visual Art and a Development Course on Visual Communication from IIT, Kharagpur. With a rich career spanning decades, he has participated in numerous solo and group exhibitions across India. He has been recognized with several honors including Lalit Kala Akademi, New Delhi, and the State Lalit Kala Akademi, among others. Currently, he serves as the Principal at Government College of Art & Crafts, Khallikote, and at BK College of Art & Crafts, Bhubaneswar. His paintings are rooted in the land, shaped by memory, and defined by the quiet integrity of his visual language.
Artist: Tapan Kumar Dash
Title of the Work:
Untitled I
Untitled II
Medium: Oil and Acrylic on Canvas
Size: 76 x 91 cm each
Tapan Kumar Dash’s diptych offers a profound visual meditation—less a window into nature than a mirror to the mind’s entanglements with the natural and the surreal. In Untitled I, a burning landscape flickers behind a parted curtain. Flames lick across the canvas, yet they do not rage; they hum quietly, as if the destruction has become routine. A solitary figure, half-obscured, peers out—perhaps witness, perhaps prisoner. The painting pulses with psychological tension: the heat of fire juxtaposed against the stillness of an interior, nature’s rage confronting human numbness.
In contrast, Untitled II feels otherworldly. A woman astride a blue elephant gazes downward, contemplative, unmoving. The backdrop is dusk-blue, punctuated by moonlight—quiet, surreal, dreamlike. The elephant, massive yet calm, feels ancient, symbolic—perhaps a carrier of memory, myth, or melancholy. This painting does not shout—it haunts. Together, these works speak of dualities: danger and calm, myth and memory, stillness and movement. Dash invites us not to interpret, but to drift through them—to stand still and feel what cannot be explained.
Critically, Tapan Kumar Dash’s work is known for this spontaneous layering of color and form. His process is not about pre-planning—it’s about listening to the canvas, letting each layer respond to the last, much like jazz or an improvised raga. His use of traditional references is subtle but intentional. Rather than depict folk forms, he absorbs their rhythm and philosophy—allowing them to emerge organically within his contemporary visual idiom.
About the Artist:
Born in 1972 in Puri, Odisha, Tapan Kumar Dash is a internationally renowned artist. A BFA graduate of B.K. College of Art & Crafts, Bhubaneswar, has participated in international collaborations, notably at U.K, Dubai, South Korea. His works blend conceptual depth with expressive spontaneity, and his practice spans painting, installation, and photography. Known for his distinctive use of vibrant colors, emotional layering, and experimental formats, he continues to explore themes of nature, memory, and human interconnectedness through evolving visual languages.
Artist: Tribhuwan Kumar Deo
Title of the Work: Moods of Himalaya (Triptych)
Medium: Acrylic on Canvas
Size: 91 x 228 cm
Standing before Moods of Himalaya, I didn’t just see a mountain range—I felt its breath. Tribhuwan Kumar Deo’s triptych pulses with a raw, volcanic rhythm, where textured layers of black and molten gold seem to rise, crack, and settle like the Earth speaking in ancient tongues. At first glance, it appears abstract. But stay a little longer, and the outlines of peaks, ridges, and flowing terrains begin to emerge—not with sharp clarity, but with a mystic hum, as if seen through memory or mist.
Each panel carries its own mood: the left hums with dormant energy, the center surges with eruptive gold veins—like dawn breaking through stone—and the right quiets again into a smoky resolve. Together, they map not just a geography, but a psychological landscape. These are not just the moods of the Himalaya—they are the moods we carry when we encounter something vast, eternal, and beyond our control.
From a viewer’s perspective, this work is less about form and more about feeling. It doesn’t shout. It simmers. The artist’s textured layering and restrained palette suggest erosion, endurance, and an elemental grief—perhaps for what is lost in our disconnection with nature, or what is quietly resisting that loss.
Critically, Deo’s language is one of suggestion, not declaration. His compositions embrace ambiguity but never lose their sense of place. He captures the Himalayas not as tourist spectacle, but as mythic terrain—eternal, aching, and alive. In an age of vanishing glaciers and rising disquiet, Moods of Himalaya feels like a prayer carved into stone—urgent, intimate, and unshakably still.
About the Artist:
Born in 1971 in Bihar, Tribhuwan Kumar Deo is a photographer and visual artist trained in Photography and Visual Communication with a BFA from Patna University. Deeply inspired by tribal life, natural environments, and minimalism, his works reflect a poetic intersection of place and perception. He has travelled extensively across India, especially Ladakh, documenting its stark terrains and quiet beauty.
Recognized by the Lalit Kala Akademi and the HRD Ministry of India, his photographs have been showcased at major national venues including NGMA, New Delhi. In his paintings, he shifts from documentation to meditation—crafting works that ask not what we see, but how we feel.
The Unsung Artists: Children and Women of Lulung
While the works of the ten participating professional artists stood as the conceptual pillars of “I Am With Nature”, it was the quiet corner of the gallery—lined with framed artworks made by school children and tribal women—that offered something profoundly intimate. These weren’t just additions; they were the soul of the show.
On one wall hung vibrant sketches by the children of Lulung village—scenes of birds, trees, waterfalls, and the forest they live within. Their drawings were raw, joyous, and surprisingly nuanced. As I stood there, I couldn’t help but smile. These weren’t just paintings—they were windows into the innocent ways in which children interpret nature. Each artwork felt like a love letter to Similipal, full of color, curiosity, and care.
Next to them, a series of brown sheets adorned with intricate Jhoti-Chita motifs glowed with quiet grace. Created by local tribal women during the workshop, these white rice-paste drawings are more than just decorative symbols—they are sacred imprints of rural tradition. Seeing them framed in an art gallery felt like justice. It was as if centuries of oral knowledge and kitchen-floor rituals had finally found their place under the spotlight.
What moved me most was how these works weren’t “included” as a kind gesture—they were respected as art, and displayed with dignity. It told me that I Am With Nature wasn’t just a title. It was a belief. A belief that art doesn’t belong only to those with degrees or studios—it belongs to anyone who listens, who observes, who loves.
A Moment That Lingers
When I left the gallery, I didn’t feel like I had “seen” an exhibition. I felt like I had walked through a living memory. I carried more than photographs—I carried fragments of forest light, echoes of tribal footsteps, and the scent of stories left hanging in the gallery air.
If you haven’t yet visited, please go. Let the silence between the brushstrokes speak to you. Let the forest reintroduce itself. Let art remind you that nature doesn’t need to be saved—it needs to be heard.
Gratitude
This heartfelt initiative would not have been possible without the collective vision and support of many:
Ketaki Foundation Trust and its inspiring team: Sri Jyoti Ranjan Swain, Sri Ramahari Jena, Sri Sugat Mohanty, Dr. Rabindra K. Swain, Sri Sudipta Ranjan Das, Smt Gitanjali Swain, Sri Satya Bhusan Hota, Sri Kapilash Bhuiyan and Sri Dipti Ranjan Swain.
Lalit Kala Akademi, Regional Centre Bhubaneswar for offering a platform.
All participating artists, who offered not just paintings, but a shared dream.
The women and children of Lulung village, who brought their traditions, stories, and innocence to the canvas.
Aranya Nivas, Odisha Mining Corporation, CSM Technologies Pvt. Ltd., BIITM, Leotronix, OCAC, and every individual or organization who believed in this quiet, powerful confluence of art and ecology.
“I Am With Nature” is not just a title. It is a reminder. A promise. A way of being. And perhaps, in this increasingly loud world, the most urgent whisper we need to hear.
