After two decades of teaching art, design, photography, graphics, and media production, Bhavin Bhadresa finally launched his eye-catching brand, Su Che Art, during the Covid pandemic. The British Asian artist has since received wide acclaim for his striking pop art prints that explore the relatable idiosyncrasies and traditions which have defined his multicultural upbringing.
The visual artist is now preparing to launch his most ambitious project – a new collection of limited-edition screen prints featuring real gold leaf. The cool creative also has exhibitions on the way, with vibrant new pieces, along with regular workshops where he shares his knowledge.
Eastern Eye caught up with Bhadresa to discuss his fascinating journey, inspirations, favourite pieces, forthcoming work, and key advice for aspiring artists.
Bhavin Bhadresa’s vibrant pop art blends Indian culture, nostalgia, and humour in striking graphic compositions
What first connected you to creativity? For as long as I can remember, I’ve been obsessed with making and drawing. The fact that we didn’t have much growing up fuelled my creativity and imagination, shaping me into the creative I am today.
How would you describe your journey to becoming an artist? My journey as an artist has been winding but incredibly fulfilling. From a young age, I always gravitated towards creative subjects, which led me to study fine art in the early 2000s. Afterwards, I spent nearly two decades teaching a range of creative subjects, from art, design, and photography to graphics and media production. The pandemic gave me the time and space to focus on my own art. Su Che Art started as a small passion project but quickly gained momentum, transforming into a full-fledged art practice.
What has it been like since then? Like many independent artists, I have had to navigate the complexities of marketing, logistics, and growing my business, all while staying true to my creative vision. It has been challenging, but the sense of accomplishment has been incredibly rewarding.
Bhadresa’s work celebrates diaspora identity with humour and vibrant visuals
How would you describe your art style? My art is a vibrant fusion of Indian pop culture, typography, and nostalgia. It celebrates language, heritage, and humour, often through bold colours and striking graphic compositions. I enjoy playing with text – whether in Gujarati, Swahili, or Hindi – bringing cultural references to life in a fresh, playful, and modern way. At its core, my work is a celebration of the richness and diversity of our cultures, with a focus on connection and joy.
Where do you draw your inspiration from for the eye-catching works? Inspiration comes from everywhere – old Bollywood movies, trips to India, vintage packaging, and even everyday conversations with family, particularly the older generation, whose stories fill my head with ideas. I enjoy taking something familiar and working it in a way that sparks both recognition and surprise.
What draws you towards Indian culture in particular for your work? As a Kenyan-born, first-generation immigrant, my connection to Indian culture is a blend of inherited traditions and personal rediscovery. My work aims to celebrate the experience of being part of a diaspora – the quirks, beauty, and contradictions that come with it. Through my art, I strive to preserve and honour this rich heritage, ensuring it remains alive for future generations.
A playful twist on heritage – Bhadresa’s art turns Gujarati sayings and Bollywood drama into modern masterpieces
What themes run through your work? My work explores identity, nostalgia, and language. Growing up in the Indian diaspora, I have always balanced the inherited culture of my parents with the reality of growing up in the West. This duality forms a major theme in my art. Immigrant generations often hold onto words, phrases, and ideas from their heritage, preserving them in a timeless state – something I explore to connect generations and cultures.
Humour seems to play a big role in the work – tell us about that. Indians are naturally funny, and humour is a huge part of our culture – whether through wordplay, filmi drama, or everyday expressions. I love weaving these elements into my work, from cheeky Gujarati phrases to nods to Bollywood classics. No matter what challenges life may throw at us, humour remains present in conversations and interactions among Desis.
Who is your hero in art? There are so many, but someone who stands out is Bhupen Khakhar. His work was bold, unapologetically personal, and broke boundaries in Indian contemporary art. I admire artists who embrace their identity and create from a place of authenticity.
Bollywood glamour meets street art edge in Bhadresa’s visually arresting cultural tributes
Is there any one particular work that is a favourite? One that stands out is the Hanuman Chalisa artwork. It took me a long time to get it just right, knowing how significant the hymn is to the community. What I love most is seeing how deeply it resonates with people – whether for spiritual reasons or as a way to connect with their cultural roots.
What advice would you give aspiring artists? Stay true to your vision, but do not be afraid to learn the business side of things. Talent alone will not sustain a creative career – you need to understand how to market yourself, price your work, and connect with your audience. And most importantly, keep making art that excites you.
What new work can we expect from you next? I am really excited to be launching a new collection of limited-edition screen prints featuring real gold leaf. These prints celebrate some of my most popular artworks and pay homage to the timeless appeal of gold in Indian culture. They are bigger and bolder than anything I have ever done. You can see them in person exclusively at EDiT Gallery in Greenwich, London.
Will you be exhibiting your work anywhere soon? I will be showing some works at The Ripple Effect group show at Art Works East, London, in late April, and I am also thrilled to be part of another group show called Pink Is For Everybody, curated by EDiT Gallery. You will be able to see an exclusive piece created specifically for this show this summer, in London.
Why do you love art and creativity? Because it has the power to connect, challenge, and celebrate. For me, art is a way to honour my roots, bring joy, and spark conversation. It is a lifelong love affair, and I would not have it any other way.
Woodcut prints that explore the fragile threshold between body, time, and transcendence
Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
A visual dialogue between flesh and spirit, rootedness and flight
A bold continuation of South Asian metaphysical traditions in contemporary form
Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
Expressionist in tone, haunting in imagery — a theatre of becoming
I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?
A clock is ticking away in the background of a darkened rectangleManzu Islam
This one is in the darkened inside of a clock, as if in the womb of time, but not quite trapped in the savage tick-tock of the metronome, for the body in its stylised repose is already stirring to take flight. Why else would the face turn away from the body in its sideways position and look beyond the dark hole, beyond the frame of time?
Even the figure deep in sleep in the primal bed of the darkened womb is not as lost to time as it first appears. The legs have already wriggled their way beyond the frame. Besides, the folds of the garment covering the lower body are billowing in the wind, as if responding to the summons of the beyond to take flight into the infinite. They are all over, these black holes that imprison even a tiny flicker of light. Staged almost as an expressionist theatre reminiscent of Ludwig Kirchner et al and the Bridge Group’s woodcut prints where dark areas, looming large, provide abodes for the likes of Nosferatu or the sinister zones of danger in a Hitchcock film, but always pointing to the lighted outside, the avenue of escape, even transcendence, as Tarek Amin tends to think.
Often bathed in metamorphic ochre and orange, these figures inspired by Bengal’s deep-rooted philosophers and mystical poets, such as Lalon Shai and Shah Abdul Karim, are swept along by their melodies of love and dread, which, despite being authorised in the name of an ineffable stranger, never fail to touch the very membrane of the soul. Perhaps that’s why Tarek Amin calls this series of artwork Echoes of Existence.
The body in its stylised repose is already stirring to take flightManzu Islam
In Ovid’s Metamorphoses, Narcissus, trapped in the mirroring surface of the water, stays deaf to Echo’s lovelorn calls. From Tarek Amin’s canvases, the echoes resolute not to take no for an answer insist on being heard, even though they speak in whispers.
What do these echoes speak of? Mostly of bodies, sinuous bodies toned and chiselled like Yukio Mishima’s, destined for a metaphysical journey. These journeys are fraught with dangers, as Mishima’s have been, imploding in a manic misadventure. Tarek Amin’s bodies, taken at once from the body-centred metaphysics of the Bauls (of which Lalon Shai and Shah Abdul Karim are preeminent figures), and from the long lines of sculptures from Michelangelo to Rodin and beyond.
Auguste Rodin looked at Michelangelo, who spurred him on his creative journey. But the Frenchman, being a workman and given to the sheer materiality of objects, the thingness of things which prompted Rilke to his poetic exploration of Dinggedicht (thing-poem), gave his figures ample volume, substance, and the rough edges of their emergence. Rodin’s bodies, weighed down by their dense matter, are rooted in places. They are too heavy to take flight. Analogous to Rodin, although working in a different medium, is the work of Bangladeshi painter SM Sultan. His embodied figures, mainly peasants bulging with muscle, know only work. Labouring in the fields, their muscles protruding all over their anatomy, creating fleshy mountains and slopes that even the likes of Arnold Schwarzenegger couldn’t dream of in their wildest imagination, is too heavy. They seem more likely to sink under their own weight than take flight. If there is an escape route for them, it is by digging deep, like Kafka’s moles.
Sure, bodies are houses of being, but some bodies are bent on dragging their being elsewhere. This, I sense, is the case in Tarek Amin’s work. Muscular bodies, bound by the sheer force of their materiality, and yet they want to fly elsewhere, it doesn’t matter how one names it: beloved, divine, or even God (Lalon imagines him as a strange neighbour in a hall of mirrors so close and yet aeons away). It seems we’ve ended up with a paradox. Rooted in bodies and yet looking for lines of flight. Imprisoned by the clock and yet wishing to melt it away as Salvador Dalí so theatrically wanted, or as Henri Bergson so patiently waited to experience his durée, as the cubes of sugar dissolved in water, which sent young Marcel Proust wild with excitement, thinking he had found the key to retrieving lost time.
Yet paradox is not a negative force. In carnival, particularly in the Caribbean one sees some figures in their limbo dancing, lowering themselves to almost ground level to pass the bar, while others elongate themselves on stilts to touch the sky. The high and the low, all at the same time, is the force that disrupts the habitual orders of things. It unleashes the forces of creation.
Tarek Amin’s bodies, then rooted in their flesh and chiselled muscles, and in dreams of escape with the melodies of Lalon Shai and Shah Abdul Karim are the figures of freedom. It will be a bumpy ride, but I wish them well.
Exhibition Title:Echoes of Existence
Artist: Tarek Amin Date: 20–27 June 2025 Venue: Spitalfields Studios, London E1
Manzu Islam is a British-Bangladeshi writer and academic, author of The Mapmakers of Spitalfields, Burrow, and Godzilla and the Song Bird. His fiction explores migration, racism, and cultural identity through vivid storytelling rooted in postcolonial experiences.
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The song delivers a strong critique of social inequality
Welsh-based British-Asian artist Nayyah releases Bees & Honey, a reggae-trap fusion track
Features reggae legends Apache Indian and Amlak Tafari
Produced by Mikey ‘Megahbass’ Fletcher
Song critiques inequality but delivers a message of hope
Lead single from upcoming album Fire In My Soul
Official music video filmed in Llandudno, out now
British-Asian artist Nayyah has released Bees & Honey, a collaborative single featuring reggae icons Apache Indian and Amlak Tafari. The track was produced by Mikey ‘Megahbass’ Fletcher, known for his work with Alborosie, and brings together reggae roots with contemporary trap rhythms. Filmed in Nayyah’s hometown of Llandudno, the video is now available on YouTube.
The song delivers a strong critique of social inequality — highlighting how those who work the hardest often receive the least — while also promoting resilience and self-belief.
A collaboration with musical heavyweights
Producer Mikey Fletcher recalled how the song began:
“Nayyah brought me this idea and a melody for the track. I tried out some reggae beats, but his unique style called for something different. I played with a trap rhythm idea, and it fitted like a glove.”
Amlak Tafari added his signature vocals and brought in Apache Indian, whose contribution was both a tribute to his global hit Boom Shack-A-Lak and a reimagining of his classic style.
Apache Indian praises Nayyah’s talent and vision
Apache Indian called the collaboration a “breath of fresh air” and commended Nayyah’s creativity:
“It was an honour for me to feature on this song, which has a fantastic video filmed in his home town. His album is nothing less than a masterpiece.”
- YouTube YouTube/ NAYYAHREGGAE
Bees & Honey part of upcoming album Fire In My Soul
The single is taken from Fire In My Soul, Nayyah’s forthcoming album featuring some of Jamaica’s most respected musicians:
Sly Dunbar, Stephen ‘Cat’ Coore, Dean Fraser, Stephen ‘Lenky’ Marsden
Paul Kastick, Robert ‘Dubwise’ Browne, Carol ‘Bowie’ McLaughlin
UK contributions from Steve Grantley (Stiff Little Fingers) and James Stevenson (The Cult, The Alarm)
Original Salvador Dali painting found at a house clearance sale in Cambridge.
Bought for £150, now expected to fetch £20,000–£30,000 at auction.
The piece, Vecchio Sultano, is part of a rare series linked to The Arabian Nights.
Confirmed authentic by Dali expert Nicolas Descharnes.
Auction to be held by Cheffins on 23 October.
Dali original rediscovered in Cambridge sale
A painting by Salvador Dali, bought for just £150 at a house clearance sale, has been authenticated as an original work by the surrealist master and is expected to sell for up to £30,000 at auction.
The artwork, titled Vecchio Sultano, is a mixed media piece featuring watercolour and felt-tip pen. It was acquired in 2023 by an art dealer who later discovered it had been fully attributed to Dali when previously offered at Sotheby’s in the 1990s.
Authenticated and set for auction
The painting has now been certified as genuine by leading Dali expert Nicolas Descharnes. It will be offered by Cambridgeshire-based auctioneer Cheffins on 23 October. The seller has chosen to remain anonymous.
Gabrielle Downie, associate at Cheffins, called the find a “significant rediscovery”:
“The loss of an attribution is quite rare in the modern art world. To handle a genuine rediscovery of a work by someone who is easily one of the most famous artists in the world, and the godfather of Surrealism, is a real honour.”
Only 100 pieces were completed before the project was abandonedCheffins Auctioneers
Link to The Arabian Nights project
Vecchio Sultano depicts a scene from The Arabian Nights and was part of a planned series of 500 works Dali had intended to create, inspired by Middle Eastern folk tales. The project was commissioned by Italian collectors Giuseppe and Mara Albaretto, who had originally asked Dali to illustrate a Bible in 1963. Dali instead chose to focus on 1,001 Nights, reflecting his fascination with Moorish culture.
Only 100 pieces were completed before the project was abandoned. Of these, 50 remained with the publishers and were damaged or lost. The remaining 50 were kept by the Albaretto family and later inherited by their daughter Christina, Dali’s goddaughter.
A rare piece of Dali’s legacy
According to Ms Downie, the artwork likely comes from the batch of 50 retained by the family and later lost. The surviving pieces were published in 2016 by the Folio Society.
With its unusual materials and cultural references, the 38cm x 29cm piece shows a lesser-known aspect of Dali’s creative practice. Ms Downie added:
“While Dali’s work is often some of the most recognisable, this is an unusual piece which shows a different side to his practice when working in watercolour.”
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UTSAV aims to become an annual celebration of Indian performing arts in Wales
Samarpan to host inaugural Indian classical dance festival ‘UTSAV’ in Cardiff
Festival includes Bharatanatyam, Kathak, Kuchipudi and Odissi performances
Features student showcases and senior artists from across the UK
Supported by Arts Council Wales and Royal Welsh College of Music & Drama
Aims to preserve, promote, and inspire future generations through traditional dance
Samarpan, a South Asian performing arts initiative founded in 2017 by Dr Leena Menon and Santosh Nair, is set to launch UTSAV, a new Indian classical dance festival in Cardiff, Wales.
The festival, supported by the Arts Council of Wales and hosted in partnership with the Royal Welsh College of Music & Drama, aims to address the lack of platforms for Indian classical dance in the region. UTSAV, meaning ‘celebration’ in Sanskrit, will showcase multiple classical dance styles in a day-long event, providing opportunities for both emerging students and established performers.
The first half of UTSAV will feature performances by Samarpan students and groups from across WalesSamarpan
Samarpan’s journey and the birth of UTSAV
Founded originally as a Bharatanatyam school in 2012, Samarpan evolved into a comprehensive performing arts organisation in 2017 under its current leadership. It is built on three pillars: education, outreach, and performance, offering dance and music classes both online and in-person across the UK.
According to Dr Leena Menon, the festival idea grew out of a long-standing gap in South Wales. “There’s a perception that Indian dance means Bollywood. Classical forms like Odissi or Kathak are rarely seen here. UTSAV is our way of preserving and passing on this legacy to the next generation.”
Samarpan has seen growing engagement from non-South Asian communities in Cardiff and beyondSamarpan
Santosh Nair, Samarpan’s Artistic Director, said that Wales lacked platforms where diverse classical forms could be seen together: “We want students to witness the distinct vocabulary of each style — not just to perform, but to truly understand and appreciate the depth of the art.”
Festival structure and artist line-up
The first half of UTSAV will feature performances by Samarpan students and groups from across Wales, offering them a platform to present their work as part of a curated 35-minute showcase.
The second half will present solo performances by senior artists, including:
Divya Ravi and Dr.Swarup Menon – Bharatanatyam
Payal Ramchandani – Kuchipudi
Elena Catalano – Odissi
Ashwini Kalsekar – Katha
These performers, based in the UK and internationally recognised, reflect a broad spectrum of artistic backgrounds — including medics, lecturers, and cross-cultural practitioners.
A local business, Ginger and Clove, is also supporting the festival with a 20% discount for attendees, extending the celebratory theme beyond the stage.
Inclusive and evolving vision
UTSAV aims to become an annual celebration of Indian performing arts in Wales, with future editions expected to feature international artists. According to the organisers, the mission is not only to promote artistic excellence, but also to challenge perceptions around who can participate in classical Indian arts.
“Many of our performers are non-Indian or began learning later in life,” said Dr Menon. “There is no barrier — not gender, race, or age — to pursuing or appreciating this art.”
Samarpan has seen growing engagement from non-South Asian communities in Cardiff and beyond. A recent performance at the International Eisteddfod in Llangollen introduced Indian classical dance to new audiences and sparked an increase in student interest.
Why UTSAV matters
For those unfamiliar with Indian classical dance, the organisers emphasise that the art form offers much more than entertainment. “This is centuries of literature, poetry, music, and philosophy told through movement,” said Santosh Nair. “If you’d spend £10 on a film, why not on something rooted in heritage and meaning?”
UTSAV is as much about showcasing performance as it is about cultural access and education. “We want children and adults — especially those disconnected from their cultural roots to witness, explore, and potentially embrace these forms,” Dr Menon added.
The duo hope that UTSAV becomes a long-term fixture in the Welsh cultural calendar, creating a dedicated space for classical Indian dance and fostering artistic appreciation across communities.
Saudha presents A Mint of Mysticism at Nehru Centre, London on 15 July 2025
The show celebrates Nobel Laureates Rabindranath Tagore and Maurice Maeterlinck
Live performances feature Indian classical music, spoken word, and dance
An accompanying art exhibition will run from 14–18 July, with daily talks
Event curated by T M Ahmed Kaysher; free to attend with registration
Tribute to literary mystics takes centre stage in London
The Nehru Centre in London will host A Mint of Mysticism Through Tagore and Maeterlinck on Tuesday, 15 July 2025 at 6 pm, a multidisciplinary performance exploring the mystic and metaphysical philosophies of two Nobel Prize-winning literary icons. Organised by the Saudha Society of Poetry and Indian Music, the event pays tribute to Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature in 1913, and Maurice Maeterlinck, Belgium’s only literature laureate, awarded in 1911.
Curated by poet and director T M Ahmed Kaysher, the evening will feature performances blending Indian classical music, dance, and spoken word. Admission is free, with tickets available via Eventbrite.
Exploring the mystic worlds of Tagore and Maeterlinck
Tagore and Maeterlinck, though from vastly different backgrounds, shared a literary commitment to mysticism, symbolism, and metaphysical themes. Tagore’s Gitanjali, which earned him the Nobel Prize, is known for its spiritual verse and lyrical depth. Maeterlinck, acclaimed for his symbolist plays like The Blue Bird, wrote about the soul, destiny, and the unseen forces of life.
This event aims to draw parallels between their works, offering a philosophical exploration of their writings through the lens of music, poetry, and visual art.
Performers bring mystic poetry to life
The evening’s main performance will feature:
Chandra Chakraborty, a renowned UK-based Hindustani classical vocalist and co-founder of Saudha, known for her emotive renditions of Tagore’s Rabindra Sangeet
Eka, a national award-winning Ukrainian singer, songwriter and Bandura player, known for fusing Ukrainian folk with classical styles
Shree Ganguly, a powerful performance poet
Nazia Amin and Zafira Salam, prominent spoken-word artists
Asmitha Keer, Sewli Bhattacharyya, and Wafi Rahman Ananna presenting classical Indian dance interpretations of mystic themes
A group of Tagore singers from Oxford, performing choral pieces
Together, they will create an immersive sonic and visual interpretation of the mystic philosophies in the works of both writers.
Mystic-inspired visual art exhibition
Running in parallel, an art exhibition inspired by the writings of Tagore and Maeterlinck will be displayed at the Nehru Centre Gallery from Monday, 14 July to Friday, 18 July 2025.
The exhibition features 16 original works by:
Tarek Amin, a national award-winning painter
Bengt O. Björklund, a Swedish poet and painter
Sonia Yasmeen, a London-based landscape artist
Each piece offers a visual interpretation of verses or ideas rooted in mysticism drawn from the authors’ work. Visitors can also attend daily curated talks, readings, and recitations in the gallery from 4 pm to 6 pm during the exhibition dates.
An artistic fusion of East and West
Through its cross-cultural performances and curated exhibitions, A Mint of Mysticism not only highlights the literary legacy of Tagore and Maeterlinck but also fosters an artistic dialogue between East and West. Organisers say the initiative hopes to engage new audiences in both philosophical reflection and artistic expression.