Sweet Embrace (2014) ; The Freedom ; série Stock (156, 175, 181, 182, 183, 184, 188) ; Being Being Itself (2025) ; A Pulsing, A Throbbing (2025) ; toiles exposées au Salon d’Automne ; pièces de la Biennale de Venise 2024 ; œuvres accompagnées de poèmes originaux.
From Finance to the Canvas
Deepa Khanna Sobti grew up in India, daughter of an officer, changing town every two years. She obtained an MBA in finance, worked for a decade in banking, then abandoned this career around 2000. Without academic artistic training, she started painting in 1999. A chance—an unknown woman met in a café, a fair organizer—triggers her first exhibition in Singapore, then London. The rest is gathering pace: awards, biennials, Autumn Salons in Paris, invitation to Venice.
Paint and write the same survey
She only uses oil and the knife, in contrasting impasto. Since 2012, she has been writing an original poem for each painting; the two appear together. The numbered stocks in your inventory and The Freedom fall under this research: corrosion, erosion, light versus shadow, « what reality really is » outside of packaging. It donates a large part of its sales to associations.
A contemporary spiritual abstraction
Royal Arts Prize in London, selections in Chitourné, Berlin, Grand Palais: her institutional reputation grew without telling the story of a French school. Her abstraction is not a market style; it is, she says, an investigation of the mind. Hence the titles that speak of being, pulsation, freedom rather than named landscape.
