IAS Officer and Artist Rajanvir Kapur Talks About the Emotions and Ideas Behind His Abstract Art

A twin-solo exhibition was inaugurated on June 12 by Ashish Shelar, Minister of Culture and Information Technology, Government of Maharashtra. It showcased the works of two serving IAS officers—Nidhi Choudhari of the Maharashtra cadre and Rajanvir Kapur of the West Bengal cadre at the Jehangir Gallery of Modern Art.

Kapur paints at an intuitive level, where each commanding brushstroke is laden with intent. Kapur’s compositions depart from a realistic representation to explore a simplicity that is difficult to articulate through literal imagery. ‘Abstract Impressions’ is a powerful collection inspired by Aboriginal Australian art and its foundational concept—Dreamtime philosophy. This ideology emphasises a continuous reality that includes the past, present, and future. It provides a framework for understanding our existence in the vast network of the cosmos. Fascinated by this spiritual symbolism, the artist has infused its dot work into his creative process.

Excerpts from the interview:

What draws you to abstract art, as opposed to representational forms?

Abstract art allows me to go beyond the visible—to express emotions, philosophies, and sensations that can’t be pinned down to form. It becomes a space of intuition, where every brushstroke has the potential to become a prayer, a rupture, or a revelation. Representational art shows the world as it is; abstraction reveals it as it feels. For me, abstraction is an honest language, one that connects the inner world to the outer cosmos.

Your exhibition has a lot of monochrome pieces with a striking use of the colour red. What is the thought process behind this limited use of colour?

Monochrome, especially black and white, distills everything to essence. It strips away distraction and sharpens emotion. Black is infinite and absorbing; white is expansive and luminous. Their tension and harmony mirror the duality of life and death, silence and speech, self and cosmos. Red, in contrast, is energy—it pulses through the otherwise quiet compositions like blood through veins. It signifies longing, love, danger, fertility, and flame. I use it sparingly and deliberately, almost like punctuation in a sacred text. It is where intensity peaks and form becomes feeling.

Intimacy is a central theme in your pieces, conveying a feeling of physical and emotional trust. How did the idea of intimacy influence you?

Intimacy is both personal and metaphysical. It is the quiet touch between two people, but also the silent dialogue between the soul and the universe. My series explores this liminal space, where vulnerability meets divinity. Love, in all its forms—platonic, physical, or spiritual—is a sacred experience. I see no separation between intimacy and transcendence. Through oil, ink, and gesture, I attempt to capture that embrace—fragile, incomplete, yet whole.

How did the ancient texts—Sanskrit, Japanese, and Chinese—influence such a contemporary artistic expression?

Ancient texts don’t just convey information; they carry rhythm, breath, and cosmology. Sanskrit mantras, Japanese haiku, and Chinese brush poetry all share a common reverence for the space between words, the pause, the gesture. My work draws from their minimalism and mysticism.

These traditions treat the void not as absence but as potential. I translate that philosophy visually—through strokes, dots, and fields of ink—so that the art becomes a meditation, not just a message.

Given the recurring theme of Advaita Vedanta in your work, how does the philosophy of non-dualism translate within your artistic practice?

Advaita Vedanta teaches that the self and the absolute are one, that all division is illusion. This non-duality sits at the core of my practice. The black and white, the figure and void, the ink and canvas—they are not opposites but expressions of the same truth. When I paint, I’m not trying to create a picture; I’m trying to dissolve into it. Each work becomes a journey from form to formlessness, from ego to unity. That’s the spiritual dimension of my abstraction.

What feeling do you hope visitors carry after experiencing your exhibition?

That art, like life, is not meant to be fully understood but deeply felt. If a viewer walks away with a sense of stillness, wonder, or even discomfort, that is enough. I hope they leave with a renewed appreciation for the invisible threads that connect all beings: love, longing, memory, and the search for meaning.

Transcending the apparent, Kapur’s art offers a profound journey into the essence of human experience. Painted with a minimal palette, his pieces are punctuated with purpose. ‘Abstract Impressions’ challenges the perceptions of reality and invites individual interpretation, making the viewer an active participant in creating meaning. Influenced by the timeless wisdom of ancient texts and the philosophy of Advaita Vedanta, this exhibition allows us to appreciate the elements through our personal experiences and emotions.