Introduction
Every February, Mumbai's Fort precinct transforms. The Kala Ghoda Arts Festival, one of Asia's largest multidisciplinary arts festivals, takes over the streets, galleries, and open spaces of one of the city's oldest cultural neighbourhoods for nine days. Each edition of the festival is anchored by a theme. In 2026, that theme was Geometry, an exploration of order, structure, and the universal patterns that underlie both the natural world and human imagination seeking the underlying patterns that give form to everything, to nature, to myth, to the way a community organises its knowledge and passes it on.
MeMeraki, a culture-tech platform dedicated to bringing India's living craft traditions into contemporary spaces, has always held that the most powerful installations are the ones where the medium and the message are the same thing.
For KGAF 2026, MeMeraki was commissioned by India Exim Bank, the main sponsor of the festival, to create the edition's centrepiece installation. The result was Ashvahit.
What followed was an installation rooted in Indian cosmology, built by the hands of ten master artists, and experienced by thousands. This is the story of how it came to be and it became one of the most photographed and discussed works of the 2026 edition.
The Brief From Exim Bank
The brief from India Exim Bank was clear in intent: create a centrepiece installation for KGAF 2026 that was visually commanding, conceptually serious, and built around India's craft traditions.
MeMeraki's ideation began with a question rather than a visual. What single idea could hold six distinct craft traditions together, giving each one genuine creative space while making the whole feel like one coherent thought?
The answer arrived through the year itself. 2026 is, in several traditional Indian frameworks, the Year of the Sun. It marks an astrological shift from the year of the Snake to Rudra, a moment associated with clarity, with the stripping away of what is false, and with the kind of energy that moves forward without looking back. This felt like the right ground to build on.
In Indian cosmology, Surya Dev travels across the sky on a chariot drawn by seven horses. Each horse carries a distinct solar quality like energy, illumination, truth, judgment, joy, harmony, and a seventh that turns inward. Together they make the Sun's journey possible. Separately, each is a complete force.
That structure became Ashvahit's architecture. Six craft traditions, each given one horse, one quality, one set of hands to bring it into form. The seventh horse, as the mythology always intended, would remain invisible.
The Concept and Its Execution
With the conceptual direction established, MeMeraki approached the installation as an exercise in interpretation. The challenge was to convert an abstract idea rooted in cosmology into a physical artwork that could be experienced in a public space while remaining grounded in India’s living craft traditions.
The team began by interpreting each horse as a distinct solar attribute. Instead of depicting the horses in a literal sculptural form, MeMeraki chose to express them through regional crafts. This allowed the installation to bring together artists from different parts of the country while giving each horse a visual identity shaped by its craft tradition.
Six horses were therefore realised as handcrafted masks and sculptural forms created by master artisans. Each one carries the material language, colours, and stylistic vocabulary of its region. Together, they formed a visual dialogue between craft practices that are geographically distant yet connected through shared cultural memory. Instead of merging these traditions into a single aesthetic, the installation embraced their differences to remain visible while arranging them within a unified composition.
The seventh horse is approached differently. While the other six appear as tangible forms, the seventh is treated as an inward presence. Within the conceptual framework of the installation, it represents the reflective dimension of the Sun’s energy, the point where outward movement turns inward. By leaving this final element without a physical form, the installation creates space for the viewer to complete the narrative.
For MeMeraki, the project was also about creating a meeting point between mythology, craft, and contemporary design thinking.
“As we began developing the installation, we wanted to explore how ancient narratives could be interpreted through the living traditions of Indian crafts. The image of the Sun’s chariot offered a powerful framework. Each horse could become a carrier of energy, expressed through the language of a different craft practice,” says Yosha, founder of MeMeraki.
Through this approach, MeMeraki transformed a symbolic idea into a collaborative craft installation. Multiple artistic traditions, materials, and regional identities converge within a single structure, translating an ancient cosmological image into a contemporary public artwork.
The Six Horses of Ashvahit
At the centre of the installation are six horses, each representing a distinct expression of the sun’s energy.
Each horse carries its own emotional presence. Colour, gaze, ornamentation, and texture shape how that energy is experienced by the viewer. Seen together, the six forms create a balanced composition where multiple traditions coexist within a single narrative.
The Cheriyal Horse: Energy
Painted in a vivid orange-red palette, the Cheriyal horse embodies movement and vitality. The colour references the intensity of the rising sun and the visual language of Cheriyal scroll painting from Telangana.
Wide, expressive eyes convey alertness and momentum, while a sun-shaped tilak marks the forehead. The reins are intentionally broader and decorated with patterned motifs that echo the rhythmic storytelling tradition of Cheriyal painting. The form appears dynamic and charged with life.
The Kashmiri Papier Mâché Horse: Light
The papier mâché horse is rendered in deep midnight blue. The surface evokes darkness while allowing light to emerge through delicate ornamentation.
Small yellow flowers appear across the form, beginning as scattered buds and gradually blooming across the surface. Their light green stems move across the body like spreading rays of sunlight. Golden accents add subtle highlights. The semi-open eyes carry a concentrated expression that suggests quiet awareness.
The Chhau Horse: Joy
The Chhau horse reflects celebration and vitality. Its pastel indigo base is decorated with vibrant red, orange, and yellow accents that resemble bursts of festive energy.
The half-closed eyes and long painted lashes soften the expression, giving the form a sense of graceful movement. Inspired by the dramatic visual language of Purulia Chhau masks, the horse appears almost in motion, as if participating in a moment of festivity.
The Bastar Iron Horse: Judgment
Forged in black iron, the Bastar horse introduces strength and authority to the installation. The raw metal surface highlights the material honesty of Bastar iron craft.
Its eyes remain fully open yet emotionally neutral. The gaze conveys composure and firmness. The presence of the horse feels disciplined and steady, representing clarity, resolve, and the ability to act with conviction.
The Kushmandi Horse: Truth
The Kushmandi horse remains free of colour. The natural wood texture is left visible, allowing the form to retain its raw material character.
Closed eyes give the horse a meditative presence. A crown-like sun motif appears on the head, symbolising illumination and self-recognition. The textured facial surface creates a tactile quality that reflects the inward dimension of solar energy.
The Majuli Horse: Harmony
The Majuli horse carries a calm and supportive presence. The face is painted in warm yellow tones that suggest vitality and generosity.
Its eyes remain gently closed, creating a peaceful expression. Motifs inspired by water, rivers, and the moon appear across the surface, reflecting the natural landscape of Majuli. The horse represents balance and harmony, offering quiet strength within the composition.
The Artists Who Brought the Craft to Life
The installation brings together master artisans from different regions of India. Each horse carries the knowledge, lineage, and visual vocabulary of its maker.
- The Cheriyal horse was created by Sai Kiran, the youngest custodian of the Dhanalakota lineage, a family that has preserved the Cheriyal scroll tradition for generations. His practice bridges inherited storytelling methods with contemporary artistic exploration.
- The Kashmiri papier mâché horse was crafted by Riyaz Ahmed, a National Award–winning artist from Srinagar known for his sculptural interpretations of the traditional Sakhtsazi and Naqashi techniques. His work reflects the visual richness and cultural memory of Kashmir.
- The Kushmandi horse was created by Kalyan Sarkar, a third-generation artisan who continues the expressive mask-making traditions of Bengal through forms rooted in ritual and symbolism.
- The Bastar iron horse was forged by Sameep Vishwakarma, an artisan working within the tribal iron-forging traditions of Bastar. His practice combines generational knowledge with formal design training.
- The Chhau horse was crafted by Dharmendra Sutradhar, a fourth-generation artisan whose work sustains the visual identity of the Purulia Chhau performance tradition.
- The Majuli horse was created by Jyoti Narayan, a generational mask maker who works closely with fellow artisans to preserve the theatrical mask traditions associated with Majuli’s cultural landscape.
- Through these collaborations, the installation becomes a meeting point for multiple craft lineages. Each horse reflects the hand, knowledge, and cultural memory of the artisan who shaped it.
Craft Collaboration, Production Process, And Its Impact
The development of the Ashvahit installation unfolded over several months. The process combined design development, artist coordination, and installation planning to ensure the final work functioned both as a craft showcase and a large public artwork within the Kala Ghoda Arts Festival.
Early Concept Development
The project began in October 2025 when MeMeraki presented initial installation proposals to EXIM Bank. The proposals explored multiple ways of integrating Indian craft traditions with the festival’s theme of Geometry and the symbolic reference of the horse associated with Kala Ghoda.
“I wanted to explore the astrological shift from the Year of the Snake to the Year of the Sun, and the transition from Kali to Rudra. It represents a moment of renewal where we are encouraged to shed old identities and recognise truth within ourselves. Drawing from ancient texts, we used the image of Surya and his seven horses as a symbol of transformation. Each horse was assigned a value, and we paired those values with craft traditions that echoed their character.”, says Yosha, founder of MeMeraki.
During subsequent discussions, the concept evolved into a narrative centred on Surya Dev’s chariot. This shift provided a clear storytelling framework and allowed each horse to represent a specific solar quality expressed through a different craft tradition. The installation therefore moved beyond a decorative arrangement of craft objects and became a structured visual narrative.
Artist Collaboration and Design Briefs
Once the concept was finalised, MeMeraki began identifying artists from its network of traditional craft practitioners across India. The aim was to match each horse with a craft tradition whose material language could express the intended solar attribute.
Artists from Telangana, Kashmir, West Bengal, Chhattisgarh, and Assam were selected for the project. Each artisan received a detailed design brief outlining the emotional character of the horse, colour direction, and symbolic elements connected to the solar narrative. Technical specifications were also provided so the masks could function as part of a wall-mounted installation.
While the conceptual framework remained consistent across the project, artists were encouraged to interpret the brief through their own craft vocabulary. This allowed each piece to retain the authenticity of its tradition while contributing to the larger narrative of the installation.
As Vishakha, Design Lead at MeMeraki, explains:
“At MeMeraki, we have built strong relationships with our artists over the years. For this project, we involved them in the ideation process and shared the story behind the installation. This allowed the artists to respond to the concept in their own way while staying true to their craft traditions.”
Production Across Regions
The six horses were produced simultaneously by artisans working in their respective regions. Each mask measured approximately 2.5 feet in height and was designed to be mounted on a vertical installation wall. The works also needed to remain structurally stable and visually legible within an outdoor festival setting.
During the production phase, MeMeraki’s design team reviewed progress through photographs and video documentation shared by the artists. This allowed the team to ensure that each work remained aligned with the conceptual brief while still allowing space for the artist’s creative interpretation.
Details such as surface ornamentation, colour treatments, and symbolic elements were refined during this stage. The distinctive features of each horse, from the flowering motifs of the Kashmiri papier mâché piece to the sculptural iron form of the Bastar horse, emerged through this collaborative process.
Installation and Final Presentation
The final installation was constructed as a structural wall designed to hold the six masks in a balanced composition. Three horses appeared on one side and three on the other, forming a visual procession across the surface.
The background incorporated geometric thread patterns that referenced the festival’s theme of structure and universal design principles. These lines created a visual framework connecting the different craft traditions within the installation.
Additional elements formed part of the final presentation, including an LED-lit EXIM Bank logo, an information board explaining the conceptual narrative, and printed material that introduced visitors to the artists and craft traditions involved in the project. Interactive elements were also integrated to encourage audience engagement during the festival.
Impact on Artists and Craft Communities
For many of the participating artisans, the project offered an opportunity to explore ideas beyond the traditional narratives they usually depict. Several of these crafts are historically tied to mythological characters and epic stories that have been repeated for generations. The Ashvahit installation invited artists to interpret those traditions through a new conceptual framework.
For instance, the experience proved particularly meaningful for Dharmendra Sutradhar, whose Chhau mask represented one of the horses in the installation. After completing the piece, he expressed his excitement and gratitude for the opportunity to create something different from the characters he usually produces for performance traditions.
The work also attracted attention within his own artisan community. Fellow artists responded enthusiastically to the mask, noting that they had not seen the Chhau form interpreted in this way before. The concept of Ashvahit reached a much wider circle of practitioners and sparked conversations about new possibilities within the craft.
For MeMeraki, this collaborative model reflects a broader goal. By working closely with master artisans and placing their work within contemporary public spaces, the platform aims to create new creative opportunities while sustaining India’s living craft traditions.
Team Perspectives
Vishakha Agrihari
Design Lead, MeMeraki
For her, the concept originated from a deeply personal moment of reflection during meditation. The six horses emerged from six guiding principles she felt compelled to explore and share through the installation.
“For me, the most rewarding moment came in witnessing how audiences engaged with the work, pausing, reflecting, and connecting with the values embedded in each horse. The installation ultimately fulfilled its purpose when viewers recognised parts of their own journeys within the artwork.”
Kirti
Design Associate, MeMeraki
“Usually art pieces are made just to be aesthetic, but for them to fit within a context and a concept, and for that aesthetic to tell a story, it is rare.”
For Kirti, the installation was conceived as more than a visually striking artwork. The concept centred on the symbolic idea of the Year of the Sun, represented through six horses, and the team aimed to translate this layered symbolism into an installation that audiences could connect with on an emotional level.
The response reflected this intention: viewers did not simply observe the installation but often found themselves identifying with one particular horse and the value it represented. For the participating artists and artisans, the project also became a meaningful creative milestone, expanding their portfolios and opening new opportunities for future collaborations.
Media Coverage and Public Response
The artwork attracted significant attention during the festival for its layered storytelling and the way it brought together mythology, Indian craft traditions, and contemporary design within a public space.
Publications such as Indulge Express featured the work as ‘a compelling example of how traditional crafts can be reinterpreted in a modern cultural context, highlighting the installation’s blend of symbolism, craftsmanship, and interactive engagement.’
In addition to editorial coverage, the installation generated organic visibility through photographers and cultural creators documenting the festival. A post by the verified Instagram account @bombaykid_captures, which featured the Ashvahit installation, generated strong engagement with 321 likes, 12 comments, 3 reposts, and 29 shares, reflecting the work’s resonance within the festival’s digital conversation.
On site, the audience response was immediate and deeply participatory. While passing, visitors paused to examine each horse, read the concept board, and discuss the meanings behind the forms. Many viewers began identifying with specific horses, interpreting their expressions and symbolism through their own personal experiences. This kind of engagement was precisely the response the installation was intended to evoke.
One of the most intriguing moments of engagement emerged around the idea of the seventh horse. While six horses were physically present in the installation, the seventh remained intentionally unseen. When visitors asked where it was, the answer revealed the conceptual twist: the seventh horse symbolised the viewer themselves.
The installation therefore extended beyond the physical artwork, inviting audiences to see themselves as part of the journey of transformation represented by the Sun’s chariot.
From the client’s perspective, the installation successfully translated cultural symbolism into a powerful storytelling device within the public setting of the Kala Ghoda Arts Festival 2026. It demonstrated how a brand presence at a cultural festival could move beyond visibility to create meaningful engagement with audiences.
This response was reflected in remarks shared during the event, where the Chief Secretary commented, "The work was impressive and the thinking behind it, equally so." acknowledging not only the visual impact of the work but also the clarity of the narrative behind it.
What This Project Demonstrates About the MeMeraki’s Collaborative Model
The development of Ashvahit offers insight into how MeMeraki’s collaborative craft model operates in practice. Executing the project required close collaboration with master artists across several regions of India. Drawing on its network of over 500 artists working across more than 300 traditional art forms, MeMeraki was able to assemble the right collaborators to bring the installation to life.
The project drew on three core strengths of the platform. First, the curatorial ability to translate complex mythological narratives into accessible contemporary public art while responding to the festival’s theme of geometry and audience interaction. Second, the design and project management infrastructure required to coordinate a multi-state, multi-artist production within tight festival timelines. Third, the digital ecosystem of workshops, marketplace, social media, and augmented reality experiences, which allows a physical installation to extend its impact well beyond the duration of the event.
In bringing together artists, ideas, and audiences within a shared and an interactive narrative, Ashvahit reflects the kind of cultural collaboration that MeMeraki continues to build across India’s craft traditions.
Ending Note
By the end of the festival, Ashvahit had become a quiet focal point within the Kala Ghoda Arts Festival landscape. Visitors paused, reflected, photographed, and discussed the meanings behind the horses, turning the installation into a site of curiosity and conversation.
What remained most significant, however, was the collaborative process that made the work possible. Artists working across distant regions contributed their craft knowledge to a shared narrative, while audiences encountered those traditions in a contemporary public setting.
In this way, Ashvahit reflects a growing possibility within India’s cultural landscape: that traditional craft practices can continue to evolve, finding new forms of expression through collaborative projects that connect artists, institutions, and public audiences.
