Gallery G's Gitanjali Maini talks about creating a dynamic space for artists, collectors, and enthusiasts

Gitanjali Maini is the founder of Gallery G in Bengaluru, a pioneering space that champions modern and contemporary Indian art. Known for her sharp curatorial vision and deep commitment to preserving artistic legacies, Maini has played a key role in bringing regional and national talent into the global spotlight. Her work often bridges traditional techniques with contemporary narratives, creating a dialogue between India’s rich cultural history and its evolving creative future.

Harper’s Bazaar: Gallery G has established itself as a powerhouse for both historic and contemporary art. How do you navigate the balance between preserving tradition and embracing modern artistic movements?

Gitanjali Maini: At Gallery G, our philosophy is simple: Art is a continuum, not a division. We present Indian masters alongside modernists and contemporary visionaries, allowing each work to inform the other. Our curation isn’t about nostalgia; it’s about relevance. The classics provide a foundation, and the moderns push the dialogue forward. By contextualising legacy within today’s conversations, we ensure that the past remains dynamic and the present deeply rooted.

HB: Your global network has played a pivotal role in placing masterpieces in prestigious collections. Can you share insights on how India’s art market is evolving internationally?

GM: India’s art market is at an inflection point. There is a renewed appreciation for Indian masters, and institutions worldwide are recognising their value. However, it is no longer just about provenance—it’s about curation, research, and strategic placement. We work closely with leading collectors and museums to ensure that Indian art doesn’t just sell—it finds its rightful place in global discourse.

HB: With the rise of younger collectors, how do you make classic works, especially those of Raja Ravi Varma, relevant to new-age buyers?

GM: The key is storytelling and experience. Younger collectors are drawn to works that carry depth, historical significance, and a personal connection. With Raja Ravi Varma, we’re leveraging technology—AI, immersive experiences, and digital formats—to bridge the gap. Additionally, we curate contemporary dialogues around his work, linking his themes to today’s socio-cultural narratives.

HB: As the Managing Trustee of the Raja Ravi Varma Heritage Foundation, what are the most significant initiatives you’ve spearheaded to ensure his legacy remains strong?

GM: The Raja Ravi Varma Heritage Foundation’s mission is to protect, research, and reintroduce Raja Ravi Varma’s works into critical and public consciousness. We have worked extensively on  cataloguing, authentication, and scholarship, ensuring his work is studied with academic rigor. We’ve also developed museum collaborations, book publications, and digitisation projects that make his art more accessible. Most importantly, we are repositioning him beyond mythology, highlighting his role in shaping modern Indian aesthetics and mass visual culture.

HB: You’ve embraced technology to reintroduce Raja Ravi Varma’s art. How do you see these innovations shaping the future of art preservation?

GM: Technology isn’t a substitute for tradition—it’s an amplifier. With AI, we are able to restore, reconstruct, and interpret works in ways previously unimaginable. Immersive experiences allow audiences to step inside paintings, understanding their context viscerally rather than passively. This is particularly crucial for younger audiences, who engage with culture through digital-first experiences. Technology is our bridge between past and future, and we are leading this transformation in India’s art space.

HB: What do you think are the biggest misconceptions about Raja Ravi Varma’s work, and how is the Foundation addressing them?

GM: One of the biggest misconceptions is that Raja Ravi Varma’s art is purely decorative or mythological. His works were radical for their time—introducing realism, narrative structure, and mass visual culture to Indian art. The Foundation actively works on scholarship, exhibitions, and research-driven publications that reposition him as a pioneer of modern Indian art. We are also restoring lost works, engaging with academic institutions, and using contemporary artistic dialogues to change the perception around his practice. 

HB: Through Sandeep & Gitanjali Maini Foundation (SGMF), you’ve played a crucial role in supporting artists and conservation projects. What gaps in the art world are you addressing through this initiative?

GM: SGMF is committed to sustained patronage. One of the biggest gaps in the art world is institutional 
support for artists beyond sales—especially in conservation, research, and artist residencies. We focus on mentorship, infrastructure, and financial support that allow artists to develop careers with longevity. Equally important is art conservation. SGMF ensures that both artists and the art ecosystem thrive together.

HB: What does sustainable patronage in art looks like? How can collectors and institutions contribute meaningfully to the Indian art ecosystem?

GM: Sustainable patronage is about long-term engagement, not transactional support. It means investing in artist development, scholarship, and public access to art. Collectors and institutions need to look beyond acquisition and toward documentation, conservation, and education. This is why at Gallery G, the Raja Ravi Varma Heritage Foundation, and SGMF, we focus on initiatives that create a ripple effect—supporting not just artists, but the entire ecosystem that sustains them.

HB: What is your long-term vision for Gallery G, the Foundation, and your role in the art world?

GM: The next phase is about scale and permanence. For Gallery G, the goal is to expand our presence beyond traditional gallery spaces—taking art to new audiences through road shows, international collaborations, and museum partnerships. The Raja Ravi Varma Heritage Foundation will continue to cement Varma’s academic standing, ensuring his legacy is studied with the depth it deserves. Personally, I want to build a more structured, research-driven Indian art industry, where scholarship, commerce, and technology coalesce seamlessly.

HB: If you could change one aspect of India’s art industry in the next five years, what would it be?

GM: The biggest shift India needs is institutional depth in the art ecosystem. Unlike the West, where museums, archives, and art scholarship are deeply embedded, India’s market is still largely collector-driven. We need stronger art institutions, more government and private investment, and a structured secondary market that ensures artists are valued beyond trends. If we can build a more archival and research-driven foundation, Indian art’s global stature will be unshakable.

Image: Courtesy Gitanjali Maini

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