SAMANTA  BATRA  MEHTA
Myth Mutation : Anima vs Animus (gallery installation)Myth / Mutation: Anima vs Animus (close-up of installation)Myth Mutation: Anima vs Animus (detail of Plate 1 Fig. 6)Preparatory drawing cut-outsPreparatory drawings/cutouts for installation, 'The sum total of our existence'Preparatory drawings/cutouts for installation, 'The sum total of our existence'The language that I knowSpeak softly, my love: In memoriamSleep softly, my love: In memoriam (detail)Memoir
Memoir (detail)Silent WitnessSilent Witness (detail)Mirage SeriesMirage Series #1Mirage Series #1 (detail)Menagerie SeriesMenagerie Series (detail)TopiaryTopiary (detail)Forest of DesireForest of Desire (detail)Cosmic EggCosmic Egg (detail)Fragile Series (#1 & #2)Fragile Series #3 (detail)Whose War/ Whose ParadiseUntitledAnd She Flowers... (detail)SpecimenThe Specimen (detail)Germination Series (#1 - #12)Germination #13 (from the Germination Series)In the BeginningMegapolisCode of Conduct SeriesCode of Conduct #3 (from the Code of Conduct Series)My Body, the Seed'My Body, the Seed' and 'Code of Conduct' Series (Gallery view, Bodhi Art, Mumbai, India)
Traditional media
The point of departure for a work is almost always the concept and the idea. To that end, I use ‘traditional’ media - such as such as hand-made gouache paint, ink, graphite and sometimes silverpoint - freely along with collage, glass objects, found objects and / or prints in my work. For the ease of visual classification, however, these works are termed as ‘traditional media’.

My training and exploration as an artist includes traditional Byzantine icon-making, medieval manuscript illumination and gilding. I’m also informed by miniature painting from the Indian subcontinent. Wherever possible, I grind my own pigments made from natural minerals or plant-based matter into color-dense gouache paints.
India inks and pigmented shellac based inks are hand-dipped with a stylus to create monochromatic, detailed and complex imagery in a meditative and labor-intensive process. I’m very conscious of using archival and acid-free materials (wherever possible) to promote and enhance the longevity of my paper-based works.