Art often invites viewers to look beyond what is immediately visible, encouraging them to reflect on emotions, identity, cultural memory, and the complexities of human experience. The group exhibition at 108 Gallery, running from 7 October to 6 November, brings together diverse artistic approaches through contrasting colours, surreal imagery, symbolic figures, and intricate compositions. While some works convey psychological tension and personal struggles, others explore cultural traditions, social realities, isolation, and the rhythms of everyday life. Together, they create a visual environment that stimulates curiosity while leaving room for individual interpretation.
Deeprose Gurung’s artworks consist of four ceramic masks with distinctive facial features. Unusual shapes, uneven eyes, elongated noses, and geometric lips give each mask an individual character. Combining elements of modern abstract art with traditional folk influences, the artist demonstrates how simplified forms can communicate emotions and aspects of human identity. The terracotta red and soft pink tones create an earthy appearance, while the smooth, reflective surfaces interact with the gallery lighting. The raised facial features produce shadows that emphasise the handmade quality of the clay. Although the masks encourage personal interpretation, their abstract expressions may not communicate a clear meaning to every viewer, leaving the intended emotions somewhat open to interpretation.
Karma Tashi Gurung’s artwork depicts a figure wearing traditional Himalayan clothing, including a heavy cloak and a metallic brooch, but replaces the human face with a camera lens. This unusual feature suggests how Himalayan communities are frequently viewed, photographed, and commercialized by outsiders rather than understood through their lived experiences. A sheep in the foreground represents the everyday livelihoods of mountain communities, where livestock plays an important role in survival, particularly in regions such as Dolpa. Meanwhile, a textured circular form in the upper-right corner resembles either the moon, connecting natural imagery with economic value and industrial development. The terracotta orange, olive green, and muted yellow palette creates a contemporary geometric composition that differs from the intricate detailing associated with traditional Thangka painting. The artwork raises important questions about the tension between cultural preservation, tourism, and modernization. However, the symbolism may be difficult to interpret without additional context, potentially limiting the depth of understanding for viewers unfamiliar with Himalayan cultures.
Manasi Bhatt’s artwork portrays figures playing traditional Madal drums, capturing the energy of music, movement, and communal celebration. The figures are rendered through simple, soft forms rather than detailed facial features, directing attention towards their gestures and shared rhythm. Warm shades of red, yellow, and orange, combined with white shapes and striped patterns, evoke traditional folk art and woven textiles. Against the dark background, the colourful figures and golden drumheads become the visual focus, creating an intimate yet dramatic atmosphere. While the artist’s earlier works explored nostalgia, personal memories, and rural life in the western Nepal, this composition presents cultural heritage as a living practice that continues through collective participation. Nevertheless, the simplified figures and limited facial expressions may reduce the individuality of the subjects, leaving the broader atmosphere of celebration more prominent than the personal experiences of the musicians.
Saijal Sthapit’s artwork features a frog-like figure dressed in patterned patchwork clothing, including a striped top and a polka-dotted skirt. Its slender legs and composed posture create a playful, fairytale-like appearance. Flanking the central figure are two tall, mask-like characters: a dark teal creature with horns and geometric patterns, and a bright red crowned mask resembling a Lakhey, complete with sharp teeth and a yellow nose. Bold outlines, textured brushwork, and a vivid ochre-orange background distinguish the figures, while the decorative border gives the composition the appearance of an illustrated page from an old storybook. By combining pop-surrealism with traditional Newar and Himalayan mask imagery, Sthapit reinterprets familiar cultural symbols through a contemporary visual language. However, the crowded arrangement and numerous decorative details may compete for attention, making it difficult to identify a clear focal point or determine the relationship between the different characters.
Sita Malla’s artwork portrays a woman seated on a simple plastic chair, leaning forward as she concentrates on her work. The dark background, filled with fine green and white lines, creates a confined atmosphere, while stacked frames, panels, and heavy bundles scattered across the floor make the space appear cramped and demanding. These surrounding objects suggest the physical and emotional burdens associated with everyday responsibilities. Malla’s focus on women and their daily struggles draws attention to the labour, patience, and persistence often overlooked in ordinary life. By presenting an apparently mundane moment, the artwork gives visibility to the experiences of women whose contributions frequently remain unrecognised. However, the dark composition and dense arrangement of objects may make the scene visually overwhelming, and the absence of further contextual information leaves the woman’s specific circumstances open to interpretation.
This abstract artwork by Spandan Pyakurel, also known as Keki features a sharp, sword-like structure rising vertically through the centre, immediately drawing attention to its strong shape and position. Surrounding it are circular ringlets and wing-like forms that resemble angels or celestial beings, creating a sense of movement and a supernatural atmosphere. The contrast between the rigid, pointed structure and the loose, flowing lines gives the composition a feeling of tension and disorder. Dark, ink-like streaks and splatters spread downwards from the centre, resembling flowing blood and adding a sense of destruction to the artwork. These visual elements can be interpreted as a war between gods attempting to bring humanity into the world. The sword suggests conflict and divine power, while the surrounding forms create the impression of celestial beings caught in battle. The blood-like marks emphasise the immense bloodshed and sacrifice involved in this struggle, suggesting that the creation of humanity came at a great cost.
Art plays an essential role in society by preserving cultural heritage, questioning established beliefs, expressing emotions, and presenting perspectives that may otherwise remain unheard. Exhibitions such as this one encourage critical thinking, cultural awareness, and a deeper appreciation of the relationship between personal experiences and the wider world. The works displayed at 108 Gallery demonstrate the ability of visual art to communicate complex ideas through colour, texture, symbolism, and form. However, the exhibition also reveals a limitation of contemporary art: when symbolism becomes excessively ambiguous or relies heavily on specialised cultural knowledge, the intended message may become difficult for the general public to understand. In some works, crowded compositions and decorative elements further compete with the central idea. Although mystery can enrich artistic interpretation, obscurity should not become a substitute for meaningful communication. A stronger balance between experimentation, visual clarity, and contextual explanation could make the exhibition more accessible without reducing its artistic complexity. Ultimately, art is most meaningful when it not only challenges viewers to think differently but also creates opportunities for genuine understanding, dialogue, and connection.
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