A Soliloquist's Journal

We are happy to present the first solo show of Rinku Choudhary, A Soliloquist's Journal, Curated by Prima Kurien — a body of recent paintings that unfold with the pacing of remembered, rather than observed, moments. Light falling across a wallpapered corner, a figure caught mid-thought in a room slipped outside ordinary time: these paintings don't depict a scene so much as recall one, unevenly, the way memory does.

Rinku's practice returns again and again to the smallest of things — the pause between tasks, a conversation half-heard through a doorway. Her figures are folded inward, absorbed, surrounded by marks that read like the debris of thought: bursts of colour, lines that thicken and dissolve, textures that ask to be touched rather than read. The paintings are deliberately incomplete — puzzles that ask to be solved, and just as gently, ask to be left unresolved.

Where her earlier work turned the family — and the constraints placed on women within it — into its subject, her more recent paintings narrow toward the self, and then toward coupledom: two figures resting, talking, simply continuing to live alongside one another. The chair, once freighted with questions of power, now asks only for stillness.

About the Artist

Rinku Choudhary (b. 1992, New Delhi) studied Painting at the College of Art, New Delhi, completing her MFA in 2018. Working across canvas and paper with layered mediums, she builds environments that hold the unspoken dynamics of domestic interiors — spaces shaped by the recurring presence of separated male and female figures, echoing structural questions of identity, dominance, and emotional suppression.

Raised in a large joint family and restricted from the world after dusk on account of her gender, Rinku turned her household into both subject and laboratory. Her practice draws conceptually on psychoanalyst D.W. Winnicott's distinction between the "true self" and "false self" — her overlapping figures and recurring motifs read as spontaneous gestures of an interior self trained to stay quiet. Her visual lineage moves through Mary Cassatt and Arpita Singh on one hand, and the cubist colour-as-mood register of Klee, Kandinsky, and Tyeb Mehta on the other.