Connecting, Creating, Curating
All The Beauty
In The World
Materials and Processes and Product: Understanding the nature of wooden furniture - Amolakh's contemporary response.
Exhibition, 2025
Venue : Bikaner House, New Delhi
Team : Weft Foundation
Presenting a new series of Mata ni Pachhedi paintings in conjunction with a collection of contemporary products.
This small exhibition focuses on the twin fundamentals of furniture: materials and process. At a time when the demand for furniture is increasing exponentially we would like to use this exhibition as a way of understanding the first principles of furniture making. In the first room the materials and processes are introduced and in the second room are examples of the finished products the company has been producing.
The word "AMOLAKH" defines something as precious and unique. Analysing the potential of the raw material and making simple products, relevant to today's needs is what Amolakh stands for. "Less Is More" informs all thoughts and actions.
The company was established some years ago by Maneesh Kumar Jangid in memory of his great grandfather, Late Shri ‘Amolakh’ Das Suthar. Four generations later the family continues to reflect the standards and commitment he believed in. He has been supported by Arthur Duff.
All The Beauty In The World brings together a body of sculptural works by architect, artist, and writer Gautam Bhatia. The exhibition presents a series of object-based interventions that fuse familiar, everyday forms into unexpected and often contradictory unions. Through these transformations, the works question ideas of beauty, function, and value within contemporary life.
The sculptures operate through deliberate acts of fusion, objects stripped of their original purpose and reassembled into forms that feel both recognisable and unsettling. A cricket bat extends into a rifle, a chair grows from the root of a tree, a domestic tool is rendered dysfunctional through exaggeration and subversion. When function dissolves, new meanings emerge. What is lost in utility is regained as metaphor, irony, and reflection.
Installed within a black-box gallery environment at Bikaner House, the exhibition adopts a restrained and immersive spatial language. Controlled lighting, darkened walls, and minimal interventions allow each work to be encountered in isolation, encouraging slow looking and close engagement. The scenography frames the sculptures as moments of pause, objects suspended between intention and accident.
Balancing sharp wit with quiet gravity, All The Beauty In The World reflects on the contradictions embedded in everyday existence, beauty within discomfort, clarity within confusion, and meaning within dysfunction. The exhibition invites viewers to reconsider the familiar and to find poetry in the unresolved.