Manisha Puri

Graduate Diploma 24/25
Manisha Puri is an emerging mixed-media artist based in London whose work explores identity, memory, and material through experimentation and self-reflection. Born and raised in an ethnically diverse Indian family, her practice is deeply influenced by personal narratives and India’s vibrant cultural heritage. Through conceptual and physical layering, she creates artworks rich in depth, texture, and emotional resonance. With a background in architecture, Manisha brings a methodical and research-driven approach to her creative process. She integrates observation, critical inquiry, and design thinking into her art, expanding the possibilities of form and meaning. Her recent experience in the Graduate Diploma program at the Royal College of Art marked a pivotal shift, enabling her to move beyond traditional two-dimensional mediums toward immersive, multi-sensory works that engage texture, space, time, and performance. Manisha sees art as a meditative process—one that encourages pause, introspection, and transformation. While her creative journey did not begin with a brush in hand—and perhaps still does not—it has always been a continuous process of learning and growth. Her practice continues to develop, challenging conventions and fostering new dialogues between material, identity, and expression.Manisha Puri, pictured outdoors at a wooden table in the warm evening light, wearing her bold ethnic earrings and a patterned, voluminous-sleeved top, surrounded by greenery and soft urban lighting.
'Canvas of Confusion', mixed media collage on a black angled display stand. Features a self-portrait of the artist (woman) with long wavy hair, wearing a sleeveless very dark blue top with a white floral pattern. Surrounding the portrait are layered paper collages, painted textures in neutral tones, abstract shapes, what appear to be currency notes, and cloud-like brushstrokes. At the top, a blue-tinted paper strip with partially visible text 'BRUSTR'.
'Canvas of Confusion', mixed media collage on a black angled display stand. Features a self-portrait of the artist (woman) with long wavy hair, wearing a sleeveless very dark blue top with a white floral pattern. Surrounding the portrait are layered paper collages, painted textures in neutral tones, abstract shapes, what appear to be currency notes, and cloud-like brushstrokes. At the top, a blue-tinted paper strip with partially visible text 'BRUSTR'.
Canvas of Confusion (2024) • Mixed media artwork • Three layers of mixed paper collage on clear acrylic sheets, mounted over a self-portrait painted with acrylic on watercolor paper, displayed on an 18mm MDF base stand. • 31 x 30 x 40 cm
‘HASTA LAYA’ – Twenty-Four Gestures of Bharatnatyam. A grid of twenty-four black and white photographs arranged in four rows, showing the artist (woman) from the shoulders down performing a series of classical dance hand gestures. She wears a dark three-quarter sleeve ethnic top with intricate white embroidered patterns. Each image captures a distinct hand gesture at chest or torso level. Her face is not visible, and a plain dark background emphasizes the movements of her hands.
‘HASTA LAYA’ – Twenty-Four Gestures of Bharatnatyam. A grid of twenty-four black and white photographs arranged in four rows, showing the artist (woman) from the shoulders down performing a series of classical dance hand gestures. She wears a dark three-quarter sleeve ethnic top with intricate white embroidered patterns. Each image captures a distinct hand gesture at chest or torso level. Her face is not visible, and a plain dark background emphasizes the movements of her hands.
‘HASTA LAYA’ - Twenty-Four Gestures of Bharatnatyam (2024) • Black and white self-photography • A photographic sequence capturing twenty-four hand gestures (mudras) from the Indian classical dance form Bharatnatyam, illustrating rhythm and flow.
‘MAYURTARANG’ - The Rhythmic Echo of Weave and Lines, a hanging sculptural artwork composed of natural wood branches and twine, forming a symmetrical, mobile-like arrangement. At the top, a thick branch supports fan-shaped structures made of sticks interlaced with white string, radiating outward. Below, a rectangular centrepiece displays intricate black and white designs featuring two stylised peacocks. Suspended wooden beads and small branch pieces dangle from cords at the sides and bottom, adding a sense of balance and movement. The artwork is photographed against a plain, neutral background.
‘MAYURTARANG’ - The Rhythmic Echo of Weave and Lines, a hanging sculptural artwork composed of natural wood branches and twine, forming a symmetrical, mobile-like arrangement. At the top, a thick branch supports fan-shaped structures made of sticks interlaced with white string, radiating outward. Below, a rectangular centrepiece displays intricate black and white designs featuring two stylised peacocks. Suspended wooden beads and small branch pieces dangle from cords at the sides and bottom, adding a sense of balance and movement. The artwork is photographed against a plain, neutral background.
'MAYURTARANG' - The Rhythmic Echo of Weave and Lines (2025) • Mixed media hanging installation • Peacock Madhubani folk art on Japanese paper using intaglio printmaking, mirrors, branch weaving with macrame cords and jute rope, beads.
'Sacred Canopy', a sculptural installation, composed of seven vertical wooden frames arranged in a branching formation. Two prominent frames display mixed media paper panels painted with black, gold, and white abstract tree branch designs, each finished with a feather hanging below. Two other visible frames feature intricate networks of suspended branches and thread, highlighting the use of fabric, wood, and cord. At the center, cords adorned with knots and vertically hanging painted rectangular elements in green, yellow, red, and blue add movement and depth. The artwork is installed indoors, with dark mailboxes and a door labelled "Disabled Toilet" visible in the background.
'Sacred Canopy', a sculptural installation, composed of seven vertical wooden frames arranged in a branching formation. Two prominent frames display mixed media paper panels painted with black, gold, and white abstract tree branch designs, each finished with a feather hanging below. Two other visible frames feature intricate networks of suspended branches and thread, highlighting the use of fabric, wood, and cord. At the center, cords adorned with knots and vertically hanging painted rectangular elements in green, yellow, red, and blue add movement and depth. The artwork is installed indoors, with dark mailboxes and a door labelled "Disabled Toilet" visible in the background.
Sacred Canopy (2025) • Mixed media installation • Each panel is inspired by the elements of nature, portraying the Tree of Life as a life-giving, protective structure with profound cultural and symbolic significance. • Seven panels: five measuring 50 × 120 cm and two measuring 30 × 120 cm, respectively.
'Canvas of Confusion', mixed media collage on a black angled display stand. Features a self-portrait of the artist (woman) with long wavy hair, wearing a sleeveless very dark blue top with a white floral pattern. Surrounding the portrait are layered paper collages, painted textures in neutral tones, abstract shapes, what appear to be currency notes, and cloud-like brushstrokes. At the top, a blue-tinted paper strip with partially visible text 'BRUSTR'.
‘HASTA LAYA’ – Twenty-Four Gestures of Bharatnatyam. A grid of twenty-four black and white photographs arranged in four rows, showing the artist (woman) from the shoulders down performing a series of classical dance hand gestures. She wears a dark three-quarter sleeve ethnic top with intricate white embroidered patterns. Each image captures a distinct hand gesture at chest or torso level. Her face is not visible, and a plain dark background emphasizes the movements of her hands.
‘MAYURTARANG’ - The Rhythmic Echo of Weave and Lines, a hanging sculptural artwork composed of natural wood branches and twine, forming a symmetrical, mobile-like arrangement. At the top, a thick branch supports fan-shaped structures made of sticks interlaced with white string, radiating outward. Below, a rectangular centrepiece displays intricate black and white designs featuring two stylised peacocks. Suspended wooden beads and small branch pieces dangle from cords at the sides and bottom, adding a sense of balance and movement. The artwork is photographed against a plain, neutral background.
'Sacred Canopy', a sculptural installation, composed of seven vertical wooden frames arranged in a branching formation. Two prominent frames display mixed media paper panels painted with black, gold, and white abstract tree branch designs, each finished with a feather hanging below. Two other visible frames feature intricate networks of suspended branches and thread, highlighting the use of fabric, wood, and cord. At the center, cords adorned with knots and vertically hanging painted rectangular elements in green, yellow, red, and blue add movement and depth. The artwork is installed indoors, with dark mailboxes and a door labelled "Disabled Toilet" visible in the background.

About

I am an emerging mixed-media artist based in London, and my work explores identity, memory, and material through experimentation and self-reflection. Born and raised in an ethnically diverse Indian family, my practice is deeply influenced by personal narratives and the vibrant cultural heritage of India. Through conceptual and physical layering, I create artworks that are rich in depth, texture, and emotional resonance.

With a background in architecture, I bring a methodical and research-driven approach to my creative process. I integrate observation, critical inquiry, and design thinking into my art, expanding the possibilities of form and meaning. My recent experience in the Graduate Diploma program at the Royal College of Art marked a pivotal shift, enabling me to move beyond traditional two-dimensional mediums toward immersive, multi-sensory works that engage texture, space, time, and performance.

I see art as a meditative process—one that encourages pause, introspection, and transformation. While my creative journey did not begin with a brush in hand—and perhaps still does not—it has always been a continuous process of learning and growth. My practice continues to develop, challenging conventions and fostering new dialogues between material, identity, and expression.

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