Jahnvi Singh

Jahnvi Singh is a visual artist whose practice engages with Indian philosophical inquiry, mythology, and vernacular aesthetics. Working primarily through painting, installation, and text, she explores the tension between the sacred and the mundane, embodiment and transcendence, and the cyclical nature of time.

Her research draws on the Mundaka Upanishad, particularly the concept aṇor aṇīyān mahato mahīyān—that which is smaller than the smallest is also greater than the greatest. This idea shapes her explorations of scale, power, and surrender, often visualised through disproportionate figures whose interactions suggest both intimacy and distance, agency and submission.

Singh’s ongoing engagement with the Devi Mahatmya considers the Goddess as both realised and realising—creator, preserver, and destroyer—and opens a visual dialogue with feminine divinity as a cosmic and embodied force. Her interests in Nayika Bheda and Radha as an axis of spiritual longing inform both her writing and image-making, where Bhakti is approached as both subject and mode of relation.

Her recent works examine the metaphor of the bird watching the bird—the witnessing self in relation to the jiva immersed in karmic action. This metaphysical layering informs her approach to selfhood, devotion, and artistic presence.

She is currently working on creating contemporary frescoes in the Rajput style for a Ram-Krishna temple in Rohet, Rajasthan. This project reinterprets traditional idioms to reflect evolving relationships between god, story, and devotion in the present moment.

Singh holds an MA in Fine Art from Central Saint Martins, London, and a Diploma in Indian Aesthetics from Jnanapravaha, Mumbai. She has exhibited at institutions including the Saatchi Gallery, Tate Modern, and the Royal Overseas League.