At Chennai’s newly launched M’Jane Studio, the exhibition Room With No Walls closed recently, leaving behind conversations that stretched beyond its brutalist walls. Founded in 2024 by Jane Thompson and Vivish George, the studio has quickly become a haven for the city’s creative community. The show, themed Art as Privilege, brought together emerging voices who questioned access, inclusion, and the invisible scaffolding that allows creativity to thrive.
For artist Ashvathie Mullath, the privilege of art lies not in resources but in the very act of creation. “Art as privilege to me refers to the precious act of creation, the ability to envision something and implement it, rather than always looking at it from a materialistic or financial point of view,” she shared. At the same time, she observed how privilege can shape consumption more than creation: “Creating is something anyone can manage to do one way or another. Consuming art involves consuming value, money, time, passion and very few get to appreciate and support creators.” Her acrylic works confronted her own guilt about having support, evolving into a new understanding. “Privilege in art is in the ability to create regardless of who we are or where we come from.”
Aditi Ashok approached the theme by interrogating access and exclusion. “For me, it means recognising that not everyone has the same access to create or experience art,” she explained, pointing to works like The Seat at the Table and Life of Pablo, which reflect on participation and identity. Privilege, she noted, “gives some people the time, money, and education to make art while others may never get the chance. It also affects who enters galleries and who feels welcome in artistic spaces.” Yet she acknowledged that even with barriers, art can connect across divides. “Art always carries some exclusivity because of context, language, and culture. But it can still reach people across differences when it speaks to common emotions or experiences.”
For Nakshatra Saravanan, the privilege of art is tied to its power to challenge stereotypes. “For me, this power to challenge existing notions and stereotypes is one of art’s fundamental privileges,” she reflected. Their canvases juxtaposed graphite with gold and ultramarine, materials historically tied to wealth and sanctity. “By encircling graphite with opulence, the paintings echo how wealth and privilege frame visibility and importance in art history.” Yet the artist’s hope is for audiences to see beyond embellishments: “I want viewers to notice the care and detail in the graphite centre of the canvases, and contrast it with the boldness of the gold and blue. Though these elements enhance the composition, their presence, like privilege, is somewhat arbitrary. Ideally, this will prompt viewers to acknowledge the underprivileged and question how the privileged would seem if stripped of its frame.”
Rakhi S Mehta called privilege the hidden scaffolding behind art. “For me, ‘Art as Privilege’ is about acknowledging the quiet scaffolding that allows creativity to exist in time, space, education, courage, and a certain kind of bandwidth,” she said. Her works leaned into imperfection, “I didn’t aim for perfection but for truth, even if that truth is messy. That’s its own kind of privilege, to be able to explore without needing to impress.” She also challenged audiences to sit with discomfort: “I want them to feel first, before they try to understand. To be okay with not ‘getting it’ immediately, and to question their own lens of what they find acceptable and why.”
By opening its doors freely, no tickets, only open hours, M’Jane Studio underscored the theme of accessibility. And while the exhibition has concluded, its echoes remain: artists reminding us that privilege in art is not only about resources, but about visibility, connection, and the courage to create.
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