Homecoming: Echoes of Belonging, a solo exhibition by Shana Sood, curated by Georgina Maddox, was held at Kalamkaar Gallery, Bikaner House.
The preview evening was graced by the esteemed presence of Meenakshi Lekhi, former Minister of Art & Culture and Minister of External Affairs, alongside fashion designer Leena Singh and curator Myna Mukherjee, who came together to light the ceremonial lamp and inaugurate the show.
Curated by Georgina Maddox, the exhibition showcases Shana’s self-taught mastery over oil on canvas, where she explores themes of displacement, nostalgia, and rootedness. As a diaspora artist based in Massachusetts, Shana brings a vivid lens to the lives of Indian women—mothers, daughters, workers, brides—rendered in lush colour and thoughtful composition. Her canvases speak of duality: the longing for a homeland left behind, and the slow reconciliation with a life abroad.
Meenakshi Lekhi and Leena Singh
Born and raised in New Delhi, and hailing from Himachal Pradesh, Shana’s practice is richly informed by the contrasts of urban vibrancy and Himalayan tranquility. Her move to the US in 2005 didn’t diminish her cultural connection—instead, it blossomed through her art. What began as a quiet pursuit evolved into a powerful practice, encouraged by friends, mentors, and an ever-growing circle of patrons. A former anchor artist at the Patriot Place Art Gallery in Foxboro, Shana’s artistic journey has been as introspective as it has been expansive.
Her portraits—whether of a little girl in a pavada blouse, a bride adorned in traditional jewellery, or an older woman resting on a charpoy—are imbued with dignity, grace, and agency. The women gaze back at the viewer—proud, thoughtful, unflinching. In contrast, the men in her paintings, though fewer, wear gentle expressions, softened perhaps by the artist’s own feminist outlook. Shana’s nuanced portrayal subverts stereotypes and opens space for conversation around gender roles and cultural expectations.
“My canvases represent a romanticised version of Indian-ness that belongs only in my mind,” Shana reflects. And yet, there is a collective familiarity in her depictions—a shared cultural memory that transcends borders. With every brushstroke, she documents the beauty of lives lived in between worlds.
