At the heart of Adhuna, the latest exhibition by Threadarte, presented by Monica Jain, Art Centrix Space at Bikaner House is a constellation of seven large-scale yarn installations crafted from nearly 350–400 kilograms of waste threads sourced from across India, accompanied by three sculptural works. Together, they trace the layered textures of the present moment. Before philosophy crystallises into theory, it first emerges as form—dense yet porous, cyclical yet open-ended. “We wanted the viewer to encounter the present physically before engaging with it conceptually,” says Gunjan Arora. “Each installation and sculpture is a moment you step into, rather than observe from a distance.”



Among the installations, 'Metaphors in the Wind' stands out for its evocative imagery. Resembling a dense forest punctuated by deliberate gaps, it reflects the ‘now’ as thick with lived experience, while the openings gesture towards possibility. “The present is never sealed,” Arora explains. “Even in its density, there are spaces—quiet openings where choices, opportunities, and new directions exist.” Another installation draws from the dynamic relationship between land and river, exploring how context shapes movement, even as movement continually reshapes its context. As Arora notes, “The land may define the river’s form, but as it flows through the moment, the river still finds its own way.”






The installation I Am Where I Began, composed of cotton, silk, viscose, and cast brass, reflects life’s cyclical return, while Continuum, created with cotton, silk, and linen, meditates on the subtle shifts that mark time. Each moment mirrors the next, yet the beginning and end remain profoundly different. Its wing-like form suggests motion, possibility, and flight.








Extending this exploration, the exhibition’s three sculptures—formed by casting yarn in brass—offer a meditation on existence itself. The first signifies birth or becoming, the emergence of form. The second acknowledges the act of embracing both light and shadow, recognising contrast as intrinsic to life. The final sculpture returns to origin, suggesting a quiet, reflective coming back. “The cycle doesn’t move in a straight line,” Arora reflects. “It keeps folding into itself. Endings and beginnings coexist.”






It is only after encountering these works that the title fully reveals itself. Derived from Sanskrit, Adhuna translates to “now”—a concept Rahul Jain and Gunjan Arora approach as neither fleeting nor passive. In a world driven by speed and anticipation, the exhibition invites viewers to recognise the present as layered and alive, shaped by memory, gesture, and decision, while subtly influencing what is yet to unfold. “The present carries the weight of what has been lived,” Arora says, “but it remains porous—open to redirection. Within it lies the agency to imagine futures differently.”



This understanding of the present as both archive and proposition also informs Threadarte’s collaborative practice. Allowing their individual voices to intersect and evolve, Jain and Arora develop a shared language shaped by material, time, and exchange. “Threadarte exists within this ongoing unfolding,” Arora concludes. “It’s about letting processes, ideas, and materials speak to one another.”