Despite years of struggle, the persistence of patriarchy is still the sad truth that we all live, and somehow absorb the tiniest of it every day. But what truly is sad and disheartening is that women, in their struggle to prove their capabilities, are subconsciously throwing off their skirts and confining themselves into trousers. In other words, to achieve equality, women fit themselves within the masculine norms of a patriarchal world, creating a perpetual cycle all over again.
The problem is more explained by the visual artist, Natasha Datta Roy, while presenting her solo exhibition of embracing and celebrating the divine nature of femininity. She said, “Women have always been symbols of creation, nurturing and resilience, yet today’s challenges often force them to navigate spaces that undervalue these traits, which erodes the feminine spirit and touch. In a patriarchal world, women are often expected to adopt masculine traits like aggression and assertiveness to be seen as leaders. It’s unfair to fight like a man in a man’s world. As women, we possess a unique power and softness, and we should embrace it with utmost love, care and respect. We should not fight to live peacefully in a civilised society. It should be our right. Hence, my exhibition stands as a subtle protest to things we all, both men and women, look from a male gaze.”
Natasha Datta Roy’s three-day solo exhibition ‘Echoes of her essence’, hosted from 24–26 January 2025 at a city gallery in Kolkata, was a tribute to the indomitable spirit of women in art and celebrated the dynamic and multifaceted essence of feminine energy through 26 artworks, all by her.
All 26 of the artworks were divided into three distinct series: ‘Monpakhi’, depicting the journey of love through symbolic bird imagery; ‘Tapestry of life and nature’, highlighting the profound connection between nature and the spirit of womanhood; and ‘Nitya Shakti’, celebrating the nurturing yet powerful aspects of feminine energy. The exhibition was hosted in collaboration with Different Strokes and Art Hive. The exhibition was inaugurated by painter Moubani Sorcar in the presence of Mihir Kayal, Manabendra Sarkar, Pabitra Saha and Sukanta Chatterjee.
Moubani Sorcar, on the inaugural day, voiced her beliefs to The Statesman. She said, “My name itself is named after Madhubani art, a silent rebellion of voiceless women. Art has always been a form of expression. A woman can be successful without changing her femininity. A woman can be very much a woman and be on top; she need not change herself to be feminine. A woman who is probably a mother will not get importance for her motherhood as titles and laurels are always estimated for the men. Duplicity of life, if we see a woman for what she is, she need not fit in a box that is programmed by a masculine alienation to prove that she has to be like that; she can be herself, yet do all the beautiful things the world has to offer.”
On the second day of the exhibition, Natasha, along with celebrated the birth anniversaries of two eminent Indian artists, Amrita Sher-Gil and Shanu Lahiri, by honouring distinguished artists of the city, Arunima Choudhury, Binita Bandyopadhyay, Alakananda Sengupta, Sarbani Ganguly, Papri Chowdhury and Tamali Dasgupta.
This exhibition reflects on the beauty of nature’s design, the woman as a complement to her male counterpart, creating harmony rather than competition. The idea of celebrating the duality of softness and strength inherent in feminine energy resonates deeply with nature’s balance.
“Yes, it’s necessary to learn self-defence and curricular activities for our own protection, but a balance must be maintained that should not erode our gentleness and peace femininity has in itself. My art series in this exhibition also embraces this balance. ‘Sandhi-Kaal’ is one such example. The divine justice of the Goddess while crushing the demon, as it reveals her serene yet powerful expression also reflects the perfect harmony of her warrior spirit and nurturing essence. Another work, ‘Rhythm of Life’, intricately shows how the twisted hair braid symbolises the cyclical nature of life, where light and darkness, joy and sorrow coexist in harmony,” added Natasha.
Lastly, Mihir Kayal, Natasha’s teacher, also gave his review on the latter as a student. He said, “Natasha always beforehand knew what her art would finally look like. Her cognitive ability to visualise the completed piece guides her deliberate choices in drawing, from pencil placement to brushstroke selection, and is also something I too admire. This foresight is the definition of a true artist.”