Meghana HarikumarBengaluru: Art has long served as a reflection of the world we inhabit—capturing not only what we see, but also what we feel, remember, and hope to preserve. The upcoming exhibition “Masterstroke Figurative: Narratives of Representation” at Karnataka Chitrakala Parishat, Bengaluru (from October 30 to November 2, 2025) brings together nine artists from across India who use figuration to tell deeply personal and socially resonant stories. United by their passion for art despite coming from diverse professional fields such as medicine, engineering, management, and science, these largely self-taught artists explore realism, memory, mythology, and ecology through distinctive visual languages.
Among them is Dr. Epshita Chatterjee, a former molecular biologist turned artist and founder of Masterstroke Figurative. Her ecologically sensitive works are inspired by her travels to bird sanctuaries and national parks across India and Southeast Asia, where she documents the beauty and behaviour of endangered bird species. Through her vibrant canvases, she not only celebrates the splendour of avian life but also highlights the urgency of conservation.
Below is an exclusive conversation with Dr. Epshita Chatterjee, where she speaks about her transition from science to art, the inspiration behind her Indian bird series, and the mission that drives Masterstroke Figurative.
You made a remarkable transition from being a molecular biologist to a full-time artist. What specific moment or realisation catalysed this significant “leap of faith”?
I had been engaged in a science career for 10 yrs post which I decided to pursue my passion for Art. I had been known for my art projects in school and college as I was a natural talent and engaged fully in extracurricular activities. I have a passion for bird photography and I amassed a lot of data and photo references along the way which inspired me to represent rare birds in my Art in a way that a general audience can connect and appreciate our natural heritage. I had always been full of conviction with respect to any project I conceive and execute and it was no different for my Art. There was no trigger as such. It was a dream born out of love for our diverse tropical bird species and their fascinating mating rituals.
How does your rigorous, analytical background in science inform your creative process? Do you find that the two worlds of molecular biology and art intersect in your work?
My background in science exposed me to animal behaviour studies, sexual selection, sexual dimorphism and the miracle of life generation. Such an overview helps me to emotionally connect with our feathered wonders in nature. Their exaggerated and attractive plumage is primarily for mate selection and transfer of the best genes to the next generation. It exposes them to predators simultaneously but yet the males are conspicuous in their elaborate plumage and the females are the selectors in mating. Its fascinating to depict their rituals in my Art.
Your current work is “ecologically conscious” and focuses on endangered Indian birds. Why did you choose birds, specifically, as the messengers for your concerns about habitat decline?
I gravitated towards our feathered wonders because of their diversity in the Tropics. The warm and humid conditions in the Tropics have led to such evolution and diversification of bird species that it is worth exploring. Birding was a hobby for more than 11 yrs till it became a source of inspiration for my artworks. Many artists are working on the conservation aspects of several endangered bird and animal species but my motive is to give life to them in popular imagination by their representation in Art.
Your process involves documenting birds in their natural habitats, noting their behavior and mating displays. Can you share a specific story from your travels that directly inspired one of the paintings in this exhibition?
We had visited Chopta in Uttarakhand for a birding tour and it was an eye opener. We ventured into the deep forests of Chopta with our guide to catch a glimpse of the elusive and rare Himalayan Monal which is found above 11000 feet in select places in the Himalayas. A flash of colours and a flurry of activity against the backdrop of the rugged peaks is what we witnessed when we encountered the Monal. Their courtship has been depicted in one of the paintings where their sexual dimorphism is apparent. The female is in subdued shades of brown and the male is in every colour of the rainbow! The Rhododendrons bloom at these heights and temperatures and seem to frame their meeting.
When viewers see your paintings of these birds with their vivid plumage, what specific emotion or thought do you hope to provoke in them?
A sense of connection and an awe for our natural heritage.
As the founder of “Masterstroke Figurative,” what was the original mission you set out to achieve with this collective?
The original mission was to give encouragement to natural talents and give them a platform to excel. We have separate segments for natural talents and seasoned masters. Our upcoming shows will feature academic talents as well.
The upcoming show is titled “Narratives of Representation.” As the curator, what is the central “narrative” you wanted to build by bringing these specific nine artists together?
We wanted to showcase natural talents and give them a place to connect amongst eachother. We have also engaged an Art critic, consultant and curator for a critical appreciation of the artworks. Nalini Malaviya has graciously written the foreword to the catalogue for this show.
How does your own series on birds converse with the other works in the show, which touch on diverse themes like childhood memories, hometowns, and socio-cultural critiques?
We have very specific niches as artists but we are united in eliciting emotion and connection through our art.
What has been the most rewarding aspect—and perhaps the most challenging—of curating eight other artists while also preparing your own work for the exhibition?
The most rewarding aspect is viewing their confidence as independent artistic voices. There has been no challenges so far. We support each other’s journey as artists and human beings. In addition to preparing my own paintings for display, I handle communications on behalf of Masterstroke Figurative as a brand and inviting academically trained artists to give live demos at our event.
A defining feature of this group is that the artists are primarily self-taught and come from diverse professions like medicine, engineering, and technology. Why was it important for you to highlight this specific aspect?
We are artists in our own right and have distinct voices. We wanted to emphasize our unique position and passion for art in spite and irrespective of our diverse professional backgrounds. We regularly perform in group shows and solo shows across the country.
Do you believe that coming from outside the traditional fine arts educational system gives this group a different, perhaps freer, perspective on figuration and art?
Yes we cater to our inner voices as artists and choose to learn from experiences. The technicalities of an Art education are available on the internet these days and learning is an ever evolving process through life. Every artist has choices regarding what they wish to feature in their art. Academically trained artists have set paths to follow. We can choose to diverge and create our own space away from rules and repetition. Indeed, it lets us explore uncharted territories.
The show notes mention that figuration is the unifying focus. In a contemporary art world often focused on abstraction, why is “representation” so important to your collective?
Abstract art is not being encouraged by museums and figurative art is being celebrated through centuries. I believe you can showcase your story/vision and emote better through figuration than abstraction. As an artist you could display more precision and skill in figurative art.
The press release states the show “encourages others to pursue their passion.” What is your personal advice to other professionals who feel a creative pull but are hesitant to take that leap?
My personal experience in life has taught me to embrace my creative side and explore the not so trodden path. There are many artists around the world who are natural talents and they missed out on a formal art education due to other choices they made early in life. Its never too late to learn and evolve. Anything is possible if one is systematic and disciplined towards one’s end goals. Pursuing art full time is a choice when your passion exceeds obstacles in your path to self discovery and self actualization. Our psyches are deeply intertwined with our creative part of our brains and need release through Art and Aesthetics.
What do you hope is the single biggest takeaway for a visitor who comes to see “Narratives of Representation” at Karnataka Chitrakala Parishat?
The single biggest takeaway is to observe and acknowledge the courage and conviction with which we pursue art and perform as artists in shows open to the general audience. We have distinctly different artistic voices and narratives unified by our passion to perform.
After this exhibition concludes, what is next for you as an artist and for the Masterstroke Figurative collective?
I will continue to build on my repertoire of paintings depicting rare birds and will tell the stories of their lives and habitat, rituals of survival. For the artists with natural talent, we will provide a platform to perform again in group shows in prestigious galleries across the country. As a brand Masterstroke Figurative is also set to host academically trained artists from abroad to expand our scope of events. We will continue to surprise and charm our viewers and art lovers.
Meghana Harikumar
Editor
