Born in Mumbai, India in 1976, Avani Patel immigrated with her family to Pennsylvania at the age of eleven. She holds a BA from Pennsylvania State University and an MFA from the Tyler School of Art at Temple University.

Patel’s paintings have been exhibited widely across the United States and internationally, including New York, Providence, Philadelphia, New Jersey, Ohio, Virginia, Chicago, Dubai, Panama, Portugal, and Mexico. From 2003 to 2006, her work was displayed at the American Embassy’s ambassador residence in Panama, and in 2005 she was invited to lead community workshops at schools and art centers there, creating collaborative installations inspired by everyday objects. That same year, she was honored by Colin Powell and Laura Bush through the U.S. Department of State’s Art in Embassies program, alongside fifty other distinguished artists and gallerists.

In 2008 and 2009, Patel contributed to America’s Chinatown Voices, a major public art project organized by the Asian American Arts Centre, where 300 painted panels illustrating Asian American stories were installed at Columbus Park in New York City’s Chinatown. In 2011, she collaborated on a public art project in Lillestrøm, Norway, and from 2002 to 2008 two of her paintings were exhibited at the Philadelphia Museum of Art. Her practice further developed through a residency at Triangle Arts Association in 2006.

Patel’s work has received national and international recognition, with features in Hyperallergic, The Woven Tale Press, and various other magazines and art publications. Her paintings are held in private and corporate collections in Kuwait, Dubai, and the United States, including Evercore’s corporate art collection, which recently acquired her work. In 2025, Patel was selected one of only three artists from a large applicant pool for the ArtBridge and CAMBA Affordable Housing public art project in Brooklyn, announced through a CAMBA press release. She continues to expand her public art presence, including a mural installation completed in Brooklyn in 2024. Patel’s work reflects her deep engagement with cultural memory, nature, movement, pattern, and the layered textures of personal and collective histories. She currently lives and works in Brooklyn, New York.

Can you tell us about your background and how you started your artistic journey?

I was born in Mumbai, a city full of movement, color, and sound. Even though it is known for its fast pace, I grew up in a neighborhood where daily life felt rich with small details textiles hanging from balconies, temple bells in the morning, the smell of monsoon rains, and the rhythm of celebrations that seemed to flow through every season. My parents created a warm and nurturing environment, and their encouragement shaped who I became. My mother’s love for color and my father’s curiosity about the world found their way into me long before I understood what it meant to be an artist.

Art entered my life naturally. As a young girl, my parents often took me to see my sister perform at their theater and dance rehearsals. Watching the dancers twirl in bright costumes, their dresses flowing like brushstrokes, felt magical almost as if the colors themselves were speaking to me. Drawing became my favorite form of play, a daily habit that helped me capture the joy and movement I saw all around me.

Some of my strongest memories come from my parents’ garden and from visiting my parents’ farms in India. I spent hours watching flowers open, leaves shift in sunlight, and fields sway with the wind. These small moments taught me how to observe nature closely and understand rhythm, color, and quiet movements that continue to shape my visual language today.

Indian festivals also played a powerful role in my early imagination. Celebrations like Navaratri filled our neighborhood with music, dancing, lights, and vibrant colors. I remember watching women dressed in beautifully patterned saris performing Garba and Dandiya, their movements creating patterns that felt almost like living paintings. Those festivals showed me how joy, movement, spirituality, and color can all blend together, and they continue to influence the energy and rhythm in my work.

When I immigrated to Pennsylvania at age eleven, the landscapes changed dramatically, but my connection to art only grew stronger. Creating became a way of holding onto the colors, textures, and memories of India while learning to navigate a new environment. My love for colors, nature, and music continued to guide me, reinforcing my commitment to always make space in my life for art.

I earned my BA from the University of Pennsylvania and my MFA from the Tyler School of Art at Temple University. Graduate school pushed me to explore abstraction, cultural memory, and new visual languages. I realized my work was not only about patterns and figures, it was about the places I had lived, but the experiences also that shaped me, and the emotional landscapes I carried.

Each chapter of my life India’s gardens and farms, Navaratri and other festivals, theater rehearsals, immigration, and the blending of cultures continues to shape how I see and create. My artistic journey has become a way of understanding who I am, where I come from, and how I can translate both the seen and the felt into color, rhythm, and form on the canvas.

How has your artistic style evolved over time?

As an artist, I am continually evolving. I explore, experiment, and allow my work to grow with me. Over the years, my artistic development has shifted in many ways, moving from early figurative work into a more layered, intuitive, and abstract language.

Textile and theatre traditions from India have been essential in shaping this evolution. The embroidered fabrics, woven patterns, and rhythmic repetitions of traditional textiles continue to influence my surfaces and mark-making. Likewise, the classical theatre and dance performances I grew up around their expressive gestures, vivid costumes, and dramatic storytelling taught me how movement, color, and atmosphere can shape an emotional landscape. These early sensory experiences still guide me to how I build compositions and create visual rhythm.

Nature has also played a central role. My parents’ garden was a place of constant inspiration; the textures, colors, and quiet transformations taught me to observe the world with patience and curiosity. That connection to nature continues to inform the organic patterns, layered marks, and living energy that appear throughout my paintings.

As I’ve embraced new techniques, materials, and processes, each step has opened new pathways for experimentation. Gradually, I found myself creating more intuitive marks, exploring patterns, and pushing deeper into abstraction in ways that expanded both my imagination and artistic confidence.

Now, I am always developing a new visual language combining composition, color theory, natural forms, textile memory, and imagined worlds. Each painting feels like learning a new dialect, discovering new values within patterns, and building a universe that reflects both the mystery of who I am and the ongoing evolution of my artistic life.

What is your creative process like? Do you follow a routine or work spontaneously?

My creative process is a combination of routine, exploration, intuition, and playfulness. I usually begin with quiet observation small drawings, studies, or color notes that help me understand patterns and rhythms. This part of my process is intentional and grounded, giving me a sense of direction before starting a larger piece.

Once I move onto the canvas, the work becomes more spontaneous. I let the unconscious guide me, allowing marks to appear freely without overthinking them. This is where rhythm and movement come alive in my practice the repeated gestures, shifting forms, and flowing lines feel almost like a dance between my hand and the surface.

Playfulness is also an important part of my process. I like to surprise myself, to push colors in unexpected ways, to let shapes transform, and to follow ideas that may not make sense at first. That sense of curiosity keeps the work alive and helps me discover new visual languages.

Exploration is essential. I experiment with mark-making, layering, color, and abstraction to create something that feels both intuitive and intentional. Often, the painting takes me somewhere I didn’t plan to go, and I allow that spontaneity to become part of the final piece.

Overall, my process is a conversation between the conscious and the unconscious structured enough to begin, but open enough for rhythm, movement, intuition, and playfulness to shape the work.

What challenges have you faced as an artist, and how have you overcome them?

My passion for being an artist shaped my path from the very beginning. Art has always given me the freedom to explore, make mistakes, and grow through the challenges I’ve faced in my career. As an Asian American artist, I experienced doubt from people who didn’t believe a creative life was possible for me. But my parents and my high school art teacher encouraged me to keep going and stay committed to what I love. Their support became the foundation of my journey, and over time I learned to let go of negativity and focus on the positive momentum in my life and practice.

Art has truly been part of me since childhood. Watching my sister’s theater and dance rehearsals filled me with joy—the colorful costumes, music, and movement felt like the colors were speaking directly to me. Painting became my way of capturing that feeling. The rich, vibrant culture of India—its nature, music, and temples—continues to inspire how I bring my imagination onto the canvas.

One of my early accomplishments was landing a position at Brown University right after graduating from Tyler School of Art. After that year, I began applying for residences in New York. A month later, I received a letter from Snug Harbor Cultural Center offering me a studio space. That moment changed everything. I moved to New York to pursue my dream, and that same year I was selected for my first solo exhibition in Times Square through Chashama an incredible beginning.

What I didn’t anticipate was how difficult it would be to start over in New York. For months I had no steady job and relied on my savings, which quickly became stressful. But I didn’t want to abandon my artistic journey, so I took on different jobs to support myself while continuing to create. In 2005, I received an unexpected email from the American Embassy announcing that my work had been selected for a three-year display in Panama. Traveling there felt magical. As an immigrant artist from India, standing in the American Embassy in Panama City and speaking to the community and youth about my art was a moment I will never forget.

My art has taken me to many places and allowed me to build meaningful memories and connections. Through all of it, I’ve learned to believe in myself, to keep moving forward, and to embrace each experience as a beautiful chapter of my journey.

Can you describe a recent project or artwork that you are particularly proud of?

A recent project I am especially proud of is my public art collaboration with ArtBridge, where my work is printed on scaffolding and transformed into a full-block installation for an affordable housing development in Flatbush, Brooklyn. Seeing an entire city block wrapped in my paintings and patterns is an unforgettable moment. The project grew directly out of my solo show at the CUE Art Foundation, and it was incredible to watch work that began in the intimacy of a gallery expand into a large-scale mural experienced by thousands of people every day. Knowing that my art could bring joy, imagination, and beauty to a construction site, especially one connected to affordable housing felt deeply meaningful. It reminded me of the power of public art to uplift communities and become part of the daily rhythm of public life.

This project also expanded my understanding of scale. The patterns, creatures, and abstract forms I usually explore in the studio suddenly had room to breathe in a monumental way. The entire block became a living extension of my practice movement, repetition, and color stretching across the scaffolding like one continuous mural.

Alongside my public artwork, I’ve also had the honor of presenting three recent solo exhibitions this year, each exploring different aspects of my visual language. These shows allowed me to experiment with new compositions, layering, and the emotional landscapes that come from my memories of India, nature, festivals, and cultural storytelling.

I am currently preparing for an upcoming solo exhibition in Tampa, Florida, where I will be showing a new body of work that focuses on flow, mark-making, and the movement of color. This exhibition also includes a workshop and artist talk, giving me the chance to connect directly with the community.

Another project I am deeply excited about is my forthcoming solo show at the Jamaica Art Center in New York. I am developing new paintings and drawings for this exhibition that explore rhythm, intuition, and the bridges between migration, memory, and nature. This body of work feels like the beginning of a new chapter, more experimental, playful, and grounded in both my cultural roots and my present experiences.

All of these projects’ public art, solo exhibitions, and the shows still in progress represent the many ways my art continues to grow. They remind me why I create: to bring color into communities, to tell stories, and to build connections through imagination.

What advice would you give to emerging artists trying to establish themselves?

My biggest advice to emerging artists is to believe in your work, even when others don’t. Doubt from outside or within is something every artist faces. What matters is staying committed to your vision and giving yourself permission to grow, experiment, and make mistakes.

Be patient with your journey. Nothing happens overnight. Keep showing up to your studio, even on the days when work feels difficult. Consistency becomes its own form of progress.

Finally, remember that being an artist is not only about success, but also about finding joy in the process. Trust yourself, keep creating, and let the work lead you forward.

Text & photo courtesy of Avani Patel

Website: https://www.avanirpatel.com/
Instagram: https://www.instagram.com/unique_avani/

Jieun Cheon (b. 1995) is a multidisciplinary artist based in New York, exploring perception, memory, and the limits of understanding. Through installations that combine sculpture, painting, and drawing, she investigates paradoxes—order and chaos, visibility and absence. Her ongoing project, Uncanished Workld, creates immersive environments reflecting the tension between structure and instability. Cheon holds BFA and MFA degrees in Sculpture from Seoul National University and an MFA in Fine Arts from the School of Visual Arts, New York. Her work has been exhibited internationally and developed through residencies including NARS and Kunstraum.

Can you tell us about your background and how you started your artistic journey?

My artistic journey began in early childhood. I was deeply drawn to visual expression from a young age and spent most of my time drawing and making things. In elementary school, I even created postcards to sell for charity and made dolls both for myself and as gifts for others. At that time, making things felt completely natural to me.

Originally, I planned to study animation until middle school. However, after entering an art high school and immersing myself in fine art through creating my own work, I realized that my talent and passion were more aligned with fine art than animation. A major turning point came when I visited an exhibition from François Pinault’s collection and encountered works by leading contemporary artists. Seeing how artists could engage in a profound dialogue with materials and transform them into sublime forms had a powerful impact on me. That experience solidified my decision to pursue art seriously, which eventually led me to study sculpture at Seoul National University and later fine arts at the School of Visual Arts in New York.

What is your creative process like? Do you follow a routine or work spontaneously?

My creative process is structured, reflective, and driven by a continuous dialogue between intuition and reason. I don’t work purely spontaneously—in fact, one of my core rules is to never follow my very first intuitive impulse. Instead, I take time to examine where that instinct comes from, whether it’s rooted in a memory, an image, or a larger system of thought. From there, I research references and concepts that resonate with that initial spark, gradually filtering out what feels superficial and keeping only what feels essential. Because of this process, my work may appear highly controlled or calculated, but the intuitive elements that remain are the distilled core of my visual sensibility. In this way, intuition becomes more precise rather than disappearing.

I also tend to develop several project ideas simultaneously. Rather than forcing one idea into difficult conditions, I usually select which project to realize based on the materials, space, and technical limitations available at the time. This approach allows me to avoid major disruptions and helps the production process flow more smoothly, though it can be frustrating to postpone projects that require very specific conditions. Still, I stay flexible, especially during installation. When unexpected restrictions arise, I adapt on site and find alternative solutions. Overall, my process is not impulsive, but responsive—guided by careful planning, research, and a willingness to adjust when reality demands it.

Can you describe a recent project or artwork that you are particularly proud of?

Two recent projects that I am particularly proud of include Origami Hermit Craband and The Calendar of the Permutations of 1000 Arms, two works that explore different aspects of my artistic practice.

Origami Hermit Crab investigates imagined physical landscapes and geological structures through modular map-like drawings and sculptures. Inspired by fractal theory and the myth of Aspidochelone, the works take the form of fractal snail shell structures, revealing how space is generated, expanded, and transformed. At the center of this series is The Anti-Fractal Map, a sequence of intricate pen drawings and watercolor paintings on silk. Each piece functions like a navigable map, where architectural elements such as Gothic arches, gravestones, and plant forms are arranged within geometric grids based on fractal principles. While these compositions initially appear orderly, inconsistencies and spatial distortions gradually emerge, reflecting the tension between rational structure and the chaos that lies beneath it. I am currently working on the third iteration of this series and expanding its sculptural components.

Alongside this, The Calendar of the Permutations of 1000 Arms is an ongoing installation that takes the form of a fictional calendar and serves as an experiment in deconstructing religion. In this project, I reinterpret the Thousand-Armed Bodhisattva as a system of time. The installation consists of acrylic-painted panels, pen-drawn wooden panels, and sculptural elements made of brass and quartz. The acrylic paintings depict decaying flesh in layered shades of red, while the pen drawings reconstruct the mineral components of the deity’s arms, referencing the Buddhist concept of śarīra (sacred relics). Each stacked pair of panels symbolizes a single arm, and together they function like a calendar that records the continuous cycle of formation, life, and decay. My long-term goal is to complete 1,000 pen-drawn panels, and I am currently focused on advancing this extensive series.

These two projects, one focused on spatial mapping and structure, the other on time, belief, and transformation, together reflect my ongoing interest in how order, chaos, perception, and systems of meaning are constructed and experienced through art.

Two recent projects that I am particularly proud of include Origami Hermit Craband and The Calendar of the Permutations of 1000 Arms, two works that explore different aspects of my artistic practice.

What role do you believe art plays in social and cultural change?

I think art plays a unique role in shaping social and cultural change by making the invisible visible. It can surface the structures, beliefs, and patterns that often go unquestioned in everyday life. In my work, I focus on myths, rituals, and systems of knowledge—showing how deeply human perception is shaped by both cultural and psychological frameworks.

By revealing these frameworks, art encourages reflection and awareness. It doesn’t prescribe behavior, but it allows people to reconsider assumptions and explore alternative ways of understanding the world. For example, the obsessive dedication and labor behind traditional religious art or architecture—something I study and respond to—can make viewers aware of devotion, discipline, and values that have historically structured societies.

In this sense, art becomes a subtle agent of change: it challenges norms not by preaching, but by creating experiences that expand perspective, provoke thought, and invite new ways of seeing ourselves and the world around us.

How do your personal experiences and identity influence your art?

My personal experiences and identity are deeply tied to my art. Growing up navigating different cultural and philosophical frameworks, I became very aware of how belief systems and rituals shape the way we perceive and understand the world. That curiosity naturally flows into my work, where I explore myths, knowledge structures, and the ways humans construct meaning.

One of the strongest influences on me has been directly experiencing religious art and architecture. Visiting cathedrals, temples, and sacred spaces, I was struck by the obsessive dedication and precision of the artisans who created them. Their work often borders on madness—repeating patterns, layering intricate details, and committing themselves fully, sometimes blindly, to their vision. I was captivated by this intensity, this almost fanatical devotion, and it made me reflect on the kind of commitment I wanted to bring to my own practice.

In my own process, I try to channel that same relentless focus. Folding, drawing, layering, and repeating over long hours, I embrace the rigorous, ascetic discipline and the kind of obsession that pushes a work toward precision and depth. My personal conflicts, my curiosity, and my devotion to the making process all find a tangible form in the work, and I see that as the truest expression of my identity in my art.

What do you hope people take away from your art when they experience it?

When people experience my work, I hope they take away two main impressions. First, I want them to appreciate the beauty of dedicated labor. I am inspired by religious artisans who pursued their craft with obsessive devotion, sometimes bordering on madness. Their unwavering commitment enabled them to carry out meticulous and demanding work. I see this intensity not as a flaw, but as a raw creative force that drives transcendence through making—an attitude that, to me, embodies the true essence of visual art.

Second, I hope viewers sense the complexity of inquiry embedded in my practice. My work explores how the mind interacts with the world—how belief systems, myths, and structures of knowledge shape perception. Rather than offering clear narratives, it invites wandering, decoding, and reassembling, reflecting the exploratory and unstable nature of cognition.

Ultimately, I see my work as a shared encounter: the audience brings their own experiences, just as I bring mine. I hope people leave with curiosity, reflection, and a sense that art is a space where interpretations multiply and new meanings emerge.

Text & photo courtesy of Jieun Cheon

Website: https://www.uncanishedworkld.com/
Instagram: https://www.instagram.com/0_uncanished_workld/