Youdhisthir Maharjan (b. 1984, Nepal) began his academic foray into the arts with a B.A. in Creative Writing & Art History from the New England College, New Hampshire (USA). He went on to pursue his M.F.A. at the University of Idaho in 2012. Maharjan has since exhibited extensively in India, Nepal, the United States and the UK. Some of his solo shows of note include Nothing Repeated at Prichard Gallery, Idaho (2012); The Art of Not Making at the New England College Gallery, New Hampshire (2012) and Nite Light at Indigo Gallery, Nepal (2004). An Unquiet Mind is his first solo exhibition at TARQ as well as in India.
Maharjan has also been a part of several group shows including Himalayan Contemporary, Desai/Matta Gallery, San Francisco (2017); Deep Cuts: Contemporary Paper Cutting at Currier Museum of Art, Manchester, New Hampshire (2017); In Letter and Spirit at TARQ, Mumbai (2016); Reading Room, Saffron Art, New York (2016); Reading Room: Leaves, Threads, and Traces, Winchester Gallery, UK (2016) and Emerging Talent, Seraphin Gallery, Philadelphia (2016). His work has been a part of large scale exhibitions such as the Kathmandu Triennale (2017) and the Boston International Fine Art Show, Boston Center for the Arts (2015).
The artist currently lives and works in Boston, Massachusetts.
09 Jun 2016 - 02 Jul 2016
Effectively unfolding three solo exhibitions within one frame, In Letter and Spirit brings together the work of three artists who, in their distinctive ways, engage with the mystery of text. Saubiya Chasmawala, Youdhisthir Maharjan, and Muzzumil Ruheel address text in varied forms, invoke the diverse contexts it inhabits. To them, text is a site where voice meets the materiality of script, where signals are encoded and decoded, where a lively interplay takes place between language and visuality.
Exhibition Catalogue: In Letter and Spirit
31 Jan 2018 - 08 Mar 2018
An Unquiet Mind is Youdhisthir Maharjan’s first solo exhibition, at TARQ. As a part of Mumbai Gallery Weekend 2018, the exhibition brings together a body of work that underscores the artist’s meticulous practice that explores the materiality of text. Maharjan does this by using reclaimed text and painstakingly obliterating alphabets and word through arrange of techniques. The result is a sculptural obejct that is freed from the signifying purpose of words.
Influenced by Samuel Beckett’s Waiting for Godot, Maharjan explores the idea of futility through a painstaking and repetitive process of carving out and erasing words and alphabets from their original, embedded position in the text. What remains is a composition of textures and patterns that turn the flat surface of a page into a dynamic entity. These works of art, with their unique visual language, are intuitively decipherable and bafflingly elusive in equal parts.