DIPAYAN GHOSH
Mumbai, Maharashtra
Abstract artist merging mixed media with cubism and expressionism to portray themes of contemporary societal & geopolitical dilemmas that intrigue people.
Message
Born in 1977 in Kolkata, Dipayan Ghosh grew up in a city where art slips quietly into everyday life. It appears in weathered walls, tramlines, festival idols, and old academic studios that have witnessed generations of makers. Immersed in this cultural rhythm, he trained early under a mentor associated with the Academy of Fine Arts, learning that art is never just about skill or finish. It is a way of reading human struggle, resilience, and possibility. That understanding led him to formal training at Rabindra Bharati University, where he earned his Bisharad Diploma, followed by studies at the London Art College. His engagement with contemporary practice continues through an ongoing association with the Royal Academy of Arts, London.
Over years of learning and unlearning, Ghosh’s work settled into a distinctive Cubist–Expressionist language, shaped by cement, sand, jute, fibre, glass, and fractured geometry. His paintings feel built rather than painted. They carry an architectural presence, emotional depth, and an almost archaeological weight. For him, texture reflects the human condition itself. Layered, burdened, weathered, yet enduring. His focus on hope, rebuilding, and resilience comes from lived observation. Cities rise and fall. Societies fracture and heal. Individuals carry entire inner worlds unseen. This is why architects and designers gravitate toward his work. The paintings bring grounding, warmth, and quiet strength into interiors, helping spaces feel emotionally anchored rather than simply styled.
While rooted in Kolkata, his journey has unfolded across the world. His work has been exhibited throughout Europe, the United Kingdom, the United States, Japan, Vietnam, and the Middle East, including Galerie Métanoia in Paris, Elizabeth James Gallery in London, the Times Square Digital Show in New York, APF Expo Guild Artists Showcase in the UK, and Holy Art Gallery in Athens and Amsterdam. He has shown at Happenstance Art Gallery in Scarborough, Arts in Color in Washington DC, exhibitions in Tokyo through TRiCERA, and multiple platforms across Florence and Venice. In India, his work has appeared at Taj Art Gallery, Suan Artland Gallery, India Habitat Centre, the Academy of Fine Arts, Kolkata, DD Neroy Art Gallery, Mumbai Art Fair, and the AD Design Show, where he was featured in the Discoveries section.
His practice has received international recognition, with awards including the International Prize Leonardo da Vinci in Florence, the International Prize Raffaello & Canova in Venice, and Best of America from NOAPS in the United States. His work has been featured in ART India, Fine Art Connoisseur, Sylph Magazine, and several global publications.
Ghosh is currently represented in India by Masha Art Gallery, with works displayed at Taj Mansingh and The Lodhi in New Delhi, and internationally by Singulart in Paris. He is also listed in the AD Pro Directory, and his work continues to be sought after by designers looking for art that adds depth, meaning, and emotional balance to both contemporary and traditional spaces.
His curatorial collections, Mathem-Artistry, Endurance, Dasagriva: The Ten Faces of Humanity, Gunatray, and Reflections, come together as a connected universe. Here, mathematics meets mythology, urban density meets spiritual inquiry, and vulnerability meets resilience. Through abstraction, Ghosh explores ideas that words often struggle to hold. The endurance of the human heart. The architecture of grief and recovery. The tension between nature and industry. The psychological landscapes beneath our cities and ourselves.
An All-House Member of Soho House, a Patron Member of the Salmagundi Art Club in New York, and a member of the Museum of Modern Art in New York, Dipayan Ghosh remains closely connected to global creative communities. His journey from the narrow lanes of Kolkata to Paris, London, New York, Amsterdam, Florence, and beyond is ultimately about building more than canvases. It is about shaping emotional geographies. Within each textured surface lies a quiet invitation to pause, to endure, to rebuild, and above all, to hope.
Statement
My work begins with a belief that art should do more than occupy a wall. It should hold space, carry memory, and live with the people and architecture around it. Every piece I create starts with a theme rooted in endurance, resilience, rebuilding, and hope. These are not abstract ideas to me. They come from watching cities evolve, societies strain and recover, and individuals quietly carry their own inner weight.
Material plays a central role in how these ideas are expressed. I work with cement, sand, fibre, jute, glass, and layered pigment because they mirror the way time leaves its mark on both structures and people. My surfaces are built slowly through abrasion, layering, and resistance. They are meant to feel architectural rather than ornamental, as if they have grown out of the space they inhabit. This physical depth allows the work to converse naturally with scale, light, and materiality in contemporary and traditional architecture.
Colour becomes the emotional counterbalance to this weight. Earthen reds, ochres, terracotta, and deep yellows carry warmth and memory. They soften structural rigidity and bring a sense of grounded optimism into interiors. Collectors often respond to this balance. The work holds intensity, yet it settles a space rather than overwhelming it.
Artistically, my language sits between Cubism and Expressionism. Cubism gives me structure and geometry. Expressionism allows instinct, emotion, and vulnerability to surface. Together, they help me build compositions that feel composed yet deeply human.
For collectors, the work becomes a long-term companion. For architects and designers, it becomes part of the spatial narrative. In both cases, my intention remains the same. To create art that ages with dignity, strengthens the emotional character of a space, and quietly affirms that endurance and hope are still possible.