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Sonaly Gandhi’s painting presents us with figures reminiscent of classical sculpture, overlaid with a grid-like pattern, hinting at fragmentation. The male figure, posed like Michelangelo’s David, embodies youthful strength. Beside him, a female form stands with arms raised, an echo of Venus. These allusions evoke ideals of beauty that have been deeply ingrained in our collective consciousness for centuries. But consider how the grid disrupts these classical forms. Is it a cage? Or does it represent the digital age, through which we experience images today? Perhaps it echoes the Renaissance concept of ‘quadratura,’ where artists painted illusionistic architectural extensions to create a sense of expanded space. The effect here is to deconstruct the body, breaking it down into mere information. The tension between the timelessness of the classical forms and the modernity of the fragmented grid engages us on a subconscious level. These archetypes continue to exert their power. Gandhi's work demonstrates how the echoes of the past resonate, adapting and resurfacing in our present.