For the longest time, art has been bound up in ideas of exclusivity - both in the individual nature of each work and the elitism associated with it’s ownership. For art to play an active role in public lives and to serve it’s communicative purpose, it needs to be made accessible to anyone who engages with it. One such initiative is The Sculpture Park - a not for profit synthesis of contemporary artworks amidst historic spaces. Set in the 18th century Nahargarh Fort, it is a unique partnership between Saat Saath Arts and The Government of Rajasthan which displays artworks dating from 1984 to 2017.

Image credits: 'Migrant' by Ravinder Reddy

Art is often seen as an exclusive form of expression, catering and accessible to select groups of society. To use art as a vehicle to reach out to people from all walks of life, The Sculpture Park was set up in December 2017. A non-profit enterprise set in the 18th century Nahargarh Fort in Rajasthan’s Jaipur, The Sculpture Park is a collaborative effort between Saat Saath Arts and the Government of Rajasthan, showcasing artwork dating from 1984 to 2017.

As The Sculpture Park thrives on the state government and the private sector coming together in art, it not only brings art to public spaces but also marries traditional art with contemporary forms to preserve cultural heritage while keeping up with the changing times and ways of life.

The initiative was conceived of to make art a part of the public consciousness by making it accessible and understandable by everybody. This has led the initiative to nurture a space where artists and their audience share a dialogue around artwork, and where up-and-coming artists, especially students, receive validation for their efforts and motivation to continue pursuing their passion by hosting TSP’s KCT Art Awards in 2019. The same year also saw the second edition of The Sculpture Park being curated by Peter Nagy and featuring Indian and international artists such as Belgium’s Harold Ancart, India’s Hemali Bhuta, Tanya Goel, and Vikram Goyal, and Italy’s Sebastiano Mauri, among others.


Edited by Anjali Hans