Mohit Mahato unveils his debut solo exhibition in Bengaluru, Bring Me Flowers

There is something in the paintings of the series Bring Me Flowers, Bengaluru-based artist Mohit Mahato’s debut solo exhibition, that doesn‘t let your gaze leave the frame. Slightly reminiscent of Korean artist Heo Jiseon’s works, the paintings in the series transcend you to an ethereal realm, albeit with illustrations carrying a technical accuracy. Thematically, the drawings and bookforms explore the quiet journeys of plants and people amidst a rapidly changing urban landscape.

A graduate of Karnataka Chitrakala Parishath, the Jamshedpur-born artist featured on our Emerging Artists in Bengaluru Who You Must Watch Out For In 2025 list and we have been waiting for this show ever since! We talk to Mohit to understand the creative process behind Bring Me Flowers. Excerpts:

The theme of Bring Me Flowers is beautiful, but not necessarily what one thinks of as a solo debut theme. Why did you choose it?

I believe in the power of flowers to express emotions, and I’ve seen how they’re used in so many meaningful moments. When you visit someone special, you take flowers. When you want to make someone smile, you give them flowers. When a baby is born, people bring flowers. Even in times of loss, we offer flowers. When you're sorry or grateful, flowers often say it best.

Many people know how much I love collecting flowers as well. Since this was my first solo show, I wanted everyone to ‘bring me flowers’ — not real ones, but themselves, as flowers, coming to see my show.

The shadows on the illustrations give it a strong sense of three-dimensionality. Why was it important for you to ground this form in this way, especially in contrast to the more ethereal lines?

Well, the lines are delicate, and sometimes they feel ethereal — almost like a dream. When I started working, I didn’t realise it at first, but as the work progressed, I think I was trying to show weight, depth and presence.

I create to make myself feel good, and over time, it felt like I wasn’t just making images — I was expressing emotions. I wanted viewers to experience that balance too, between the visual image and the emotion behind it, and to interpret it in their own way. Because once the work is out there, on display, it no longer belongs just to me — it belongs to the viewers.

There’s a technical accuracy in all of the illustrations. Can you tell us why that is significant?

Honestly, I wasn’t thinking about any of that while working. As I mentioned, art has always been a medium for me to express my emotions. I never focused on making it beautiful, perfect or neat. I just created it in the way that felt natural to me. And once the work was done and I looked at it, it made me feel good — because I was doing it for myself.

Time also seems to be an important element in a lot of the illustrations. Take us through how the series made you explore the concept of time.

Yes, time played a very important role. I had a day job while working on the show, so I could only find time at night. At that point, I really needed rest—but I could only feel at peace after doing something for myself. As you can see, there’s a lot of detail in the work, which I enjoyed doing slowly and peacefully, without any rush, as if there was no deadline. It felt almost like a form of therapy. It made me feel good and relaxed. All the works from the show were created at night, just before going to sleep.

Can you talk about your choice of medium and the texture of the paper? How do these elements contribute to the overall feeling of the artwork?

It’s really simple—I like drawing, and I’ve been doing it since childhood, whether it was on the last page of my school notebooks or even on the walls. Later, when I joined fine arts, I learned that drawing is the basic foundation for everything—whether you're making a sculpture, an installation, or a painting, you almost always start with a drawing. Even my mother used to tell people that I was drawing, even when I was actually printing.

Most of the works in this show are done on rice paper. There’s no special reason for that—I just enjoy drawing on it. I had a few sheets, and when they ran out, I called the store to get more. Luckily, they still had some in stock. If they didn’t, I probably would’ve used another kind of paper.

Many people asked me after seeing the show: why rice paper? Why pen? Why pencil? And my answer was always the same — because I liked it. I felt comfortable and happy using those materials.

Has your work as the gallery administrator helped you plan your debut in some way?

Yes, I did work there for seven years. Gallery Sumukha is one of the prominent contemporary art galleries in the city and has exhibited many well-known artists. I worked across various mediums of exhibition and collaborated with many of those artists to help put their shows together. While doing that, I often imagined how I would present my own work if I ever had the chance to do a show there.

It was my first job after college, but it never felt like just a job. In many ways, it felt like I was attending another kind of college — one where I learned so much. I’m truly grateful for everything I learned from working at Gallery Sumukha, from our gallery director, Premilla Ma’am, and from all the diverse shows that took place during those seven years. Each show was unique, and the experience I gained there is something I don’t think I could have received anywhere else. Sumukha has given a platform to so many artists, and I’m thankful to now be one of them.

How many of your artworks can we expect at the exhibition?

There are a total of 28 works on the wall, along with a few book forms placed on the table in the centre of the gallery, accompanied by various natural found objects.

What can we expect from you next?

Those who came to see the show were surprised by my work and the exhibition — and I think that was the fun part. I’d like to keep that element of surprise a secret again, until the next time.

Entry free. Ongoing till May 17, 10.30 am – 6 pm. At Gallery Sumukha, Wilson Garden