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.
The National Theatre’s annual Connections Festival will return this June, celebrating its 30th anniversary with a week-long programme of youth theatre performances from across the UK.
Running from 24 to 28 June, the festival will also mark the reopening of the Dorfman Theatre, which has been closed since November 2024 for government-funded refurbishment works.
Over the past three months, more than 5,000 young people from over 270 schools and youth theatre groups have performed in venues across 33 professional stages nationwide. From this wide participation, ten theatre groups have been selected to perform at the National Theatre in London.
Each group will stage one of ten newly commissioned plays, offering young performers the opportunity to explore contemporary themes including identity, climate change, and community.
The selected groups and their plays are:
Fresh Air by Vickie Donoghue – Central Foundation Boys’ School, London
Ravers by Rikki Beadle-Blair – HOME Young Company, Manchester
Mia and the Fish by Satinder Chohan – Abbey Grange Academy, Leeds
The Company of Trees by Jane Bodie – Hamilton District Youth Theatre, Lanarkshire
Their Name is Joy by May Sumbwanyambe – Nottingham Girls Academy Theatre Company
Saba’s Swim by Danusia Samal – Central Youth Theatre, Wolverhampton
Normalised by Amanda Verlaque – Brassneck Youth, Belfast
No Regrets by Gary McNair – Glasgow Acting Academy
Brain Play by Chloë Lawrence-Taylor and Paul Sirett – Chatham and Clarendon Grammar School, Ramsgate
YOU 2.0 by Alys Metcalf – Everyman Youth Theatre, Cardiff
Young participants have also been involved in backstage roles, including lighting, costume design, directing and composing, helping to realise their productions from start to finish.
Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre, said: “I am really pleased to welcome ten youth groups from all corners of the UK to the NT for this landmark anniversary festival of Connections. Everyone should have the opportunity to experience the power of theatre-making.”
Since launching, the festival has engaged over 125,000 young people, with former participants including actors Keira Knightley, David Oyelowo, Rose Ayling-Ellis, and Callum Scott Howells.
Each year, ten new plays are commissioned for Connections, contributing to a growing archive of over 235 scripts written specifically for young performers.
Tickets are available for £5 per show, or £8 for two performances in one evening. All shows will feature captioning for accessibility.
Whether it is her cool songs like Checka, Piya Piya Calling and Siste Dans, cutting-edgeEP Running Deep, or acclaimed 2024 debut album Shahrazad, Delara has consistently crossed creative horizons and collaborated with global talent.
The award-winning Norwegian singer has lit up the live scene, clocked millions of streams, and connected with diverse cultures through her eclectic music. The fabulously forward-thinking talent has added to her impressive achievements with the newly released Kalash Reimagined, a bold collaboration with Indian singer Charan, Pakistani producer Talal Qureshi and Jamaican-American rapper BEAM.
Eastern Eye caught up with Delara to discuss her music, inspirations, future hopes and unique new single.
Her new track, Kalash ReimaginedInstagram/ amandadelara
What first connected you to music?
I think music was always part of my life before I even knew what it meant to me. I grew up in a household where my parents would talk about life and politics around the dinner table. That energy of emotion, reflection and curiosity somehow found its way into the songs I started writing. Music became my space for understanding myself and the world around me.
How do you reflect on your music journey so far?
I’m proud of how much I’ve dared to evolve. From the start, I didn’t take the easiest route. I sang about politics and personal struggles when people told me not to. But I’ve always trusted that staying true to myself would lead me to where I’m meant to go. That has shaped me into the artist I am today – a mix of experimentation, boldness and vulnerability.
Which of your songs is closest to your heart?
That’s a hard one, but Unbound will always be very close to me. I wrote it during a time when I was thinking a lot about the impermanence of life, and how nothing and no one lasts forever. The relationship I have with my mother, who means everything to me, inspired much of that song. Having her in the music video made it even more emotional and personal.
How much did the acclaim your debut album received mean to you?
Of course, I’m grateful for the recognition, but I try not to get too caught up in critical acclaim. What means the most to me is the feedback I get from listeners – people who send me messages or come up to me after shows saying a song helped them through something. That’s what gives me confidence and keeps me creating.
Tell us about Kalash Reimagined.
Kalash Reimagined takes the original track to new heights by merging powerful voices and sounds from different parts of the world. After working on Piya Piya with Coke Studio last year, it felt natural to expand on this fusion of cultures. The remix blends south Asian sounds, Jamaican energy and Norwegian–Iranian influences to create something bold and deeply emotional. It is a celebration of what can grow when different worlds collide.
What was it like collaborating with Charan, Talal Qureshi and BEAM?
Collaborating with Charan, Talal and BEAM was an amazing experience. Charan brought his unique perspective and fresh energy to the track. Talal’s creativity and musical vision really helped elevate the sound, while BEAM’s raw intensity added something special. It felt like a real meeting of different worlds, with voices that had something real to say. The collaboration was a true exchange of energy and ideas, and it came together beautifully.
How would you describe this track?
It’s a powerful fusion of sounds and emotions. Kalash Reimagined is bold, raw and unapologetic – yet playful and full of energy. The track exists in the spaces between cultures, not trying to represent everything but highlighting what can grow when worlds collide. It celebrates shared experiences and the beautiful complexity that emerges from blending different backgrounds.
Who are you hoping this song connects with?
I hope this track resonates with anyone who feels caught between cultures or identities. It is for those who do not fit neatly into one box. Whether you are from south Asia, the diaspora, the Caribbean or anywhere in between, I want the song to speak to those who feel empowered by blending different worlds – and who are open to the beauty that comes from that fusion.
What can we expect next from you?
There is a lot on the horizon. I’m about to announce my biggest headliner show yet, which I’m incredibly excited about. I’m also working on new music and visual projects that will push boundaries, along with more cross-cultural collaborations like Kalash Reimagined. The goal is always to connect sounds and stories in unexpected ways. I’m exploring fresh creative paths, keeping things organic and letting ideas flow freely.
Who would you love to collaborate with? There are so many, but right now I would love to work with artists who challenge genres and tell strong stories – people like Bad Bunny, Rosalía, Frank Ocean or even Raveena. Artists who are not afraid to blend cultures and sounds.
What kind of music dominates your personal playlist?
It’s a mix of many things. But with summer approaching, there is a lot of Afro, reggaeton, salsa, r’n’b and hip hop. I’ve actually created a personal playlist that I share with my listeners.
What inspires you as an artist?
Life itself – my family, friends, conversations with strangers, travelling, latenight thoughts, missing home, or wondering what home even means. I get inspired by contradictions, and those quiet moments of reflection when I’m not even trying to create.
Why do you love music?
When I’m creating music, I feel the most free. It is a space where only your mind, creativity and ideas matter – not how you look or how others see you. Music was the first place where I felt truly seen and heard. It’s a powerful force of connection, the closest thing we have to real magic – a universal language that everyone understands. In just seconds, music can make us feel a little less alone. How can you not love that?
Instagram: @amandadelara
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The exhibition is being positioned as a significant cultural event
Tate Liverpool will reopen in 2027 with the first major retrospective of artist Chila Kumari Singh Burman, one of the UK’s most prominent and influential contemporary artists. The announcement was made by Secretary of State for Culture Lisa Nandy during a reception held in Delhi on 3 May 2025.
Burman, a British-Indian artist renowned for her bold, vibrant, and politically engaged work, will be the focus of a landmark exhibition marking the gallery’s relaunch following a major transformation. The retrospective will span five decades of Burman's career and celebrate her unique artistic language, which fuses traditional and popular Indian culture, British heritage, and a personal exploration of identity.
The exhibition is being positioned as a significant cultural event, highlighting the diversity and creativity of artists from the North of England. Born in Bootle, Liverpool, to Punjabi parents, Burman describes herself as a “Punjabi Scouser” and has developed a distinctive visual style rooted in her working-class upbringing and dual heritage. Her work covers a wide range of media, including drawing, painting, printmaking, collage, photography, video, and neon installations.
Helen Legg, Director of Tate Liverpool, said: “Chila Kumari Singh Burman was always the artist we wanted to show on reopening, as part of a celebration of the rich culture of the North. She is renowned for creating irreverent pop and punk-inspired works in kaleidoscopic colour, infused with glitter and neon, that draw on aspects of Indian and British cultural heritage. Her works are just as striking for their subversive treatment of gender, class and identity.”
Culture Secretary Lisa Nandy described Burman’s work as a celebration of British diversity, saying: “The exhibition will honour one of Britain’s most innovative artists and marks an exciting new chapter for Tate Liverpool as it transforms into a modern day museum at the heart of the city.”
“Chila’s vibrant work celebrates the rich diversity of British identity. Her powerful artistic vision, spanning five decades and bringing together influences from her working-class Liverpool roots and Punjabi heritage, has already brightened our cities and lifted spirits during difficult times,” she added.
The upcoming retrospective will be curated by Leanne Green, Head of Exhibitions and Displays at Tate Liverpool, and Curator Tamar Hemmes. It is supported by the Bagri Foundation, which promotes artistic and educational projects relating to Asian cultures.
In response to the announcement, Burman said: “I’m made up to be coming back home to Liverpool with an exhibition that spans my whole career, from the River Mersey to the Land of the Five Rivers in Punjab. It is a real honour to be reopening the gallery and I hope the exhibition inspires a whole new generation of visitors.”
Burman’s work often explores themes of identity, feminism, and cultural heritage, weaving together personal history, social commentary, and artistic experimentation. Her visual language is known for its use of colour, text, and symbolism, often drawing on punk, reggae, Bollywood, and Bhangra influences.
One of her most acclaimed pieces, Remembering a Brave New World, was installed at Tate Britain in 2020. The neon and technicolour installation brought a message of hope and resilience during the height of the Covid-19 pandemic and became widely celebrated for its powerful visual impact.
Her other recent exhibitions include Chila Welcomes You (IWM North, 2025), Spectacular Diversions (Compton Verney, 2024), Illuminating India (Science Museum, 2017), and Beyond Pop (Wolverhampton Art Gallery, 2017). She has also completed several major public commissions, such as Liverpool Love of My Life, which adorned Liverpool Town Hall; Blackpool Light of My Life at the Grundy Art Gallery; and Do You See Words in Rainbows? in Covent Garden, all in 2021.
A neon tiger sculpture, a signature element in Burman’s work, will soon be on display at India House in London at the invitation of Indian High Commissioner to the UK, His Excellency Vikram Doraiswami.
Tate Liverpool’s transformation aims to deliver a 21st-century museum experience. The refurbished space will feature a new ground-floor art hall, expanded public areas for play, relaxation and learning, and panoramic views across the River Mersey. The reopening in 2027 is expected to reaffirm Tate Liverpool’s place as a cultural hub in the North and showcase the breadth and diversity of the Tate collection alongside world-class exhibitions.
Further details on additional exhibitions and programming for Tate Liverpool’s reopening will be announced in the coming months.
BITING POINT is “a desire to find goodness in a difficult and uncertain world,” its British Indian playwright has said, adding that he hopes it will resonate with audiences in Hull and beyond.
Written by Sid Sagar, the play is a sitespecific production performed in car parks and examines how anger can turn good people ugly.
“The play is deeply rooted in examining how anger can transform ordinary people – individuals simply going about their lives, dealing with everyday stresses that audiences will relate to, whether that’s work pressure, family stress or relationships not functioning as well as desired.
“It also explores how being caught in city centre traffic and congestion in Hull can affect people’s temperament,” Sagar told Eastern Eye in an interview.
He added, “In recent years, particularly during and since the pandemic, there has been a general rise in rage among the public. This anger partly stems from the less formalised, less polite conduct we now see in mainstream politics, which trickles down to ordinary people who feel so disempowered and disenfranchised that venting – often in problematic ways – seems their only recourse to be heard.”
Directed by Paul Smith, Biting Point centres around a road accident and its knock-on effects. John (played by Marc Graham), a white British delivery driver, and Anita (Katie Singh), a British south Asian property manager, have grown up in the same city with both similar and differing experiences and frustrations of keeping pace with modern life. When they collide at a roundabout in relentless rush-hour traffic, their frustrations and anger boil over, leading them to react in ways they never thought possible.
Biting Point’s running time will be 75 minutes without an interval.
“The unique aspect of this production is that it’s touring to car parks of various shapes and sizes rather than conventional theatres. The actors will perform live, while audience members entering the car park will be given headsets through which they’ll hear poems and thoughts from local artists before the show begins. Suddenly, viewers will be thrust into the characters’ world, who sometimes communicate with each other, but more often replay memories, telling us about various interactions with important people in their lives,” said Sagar, who took four years to write the play.
“Through the headphones technology, audiences will experience numerous characters and an entire world of voices, adding to the sense of people being weighed down by information overload. This overwhelming nature of societal demands fuels the rise in rage, or at least creates a sense that people don’t quite know how to manage stress, which, if left unaddressed, can quickly develop into something more worrying.”
In his opinion, without the conventional “fourth wall” of darkened theatres, actors will directly engage with viewers, creating an immediate connection that makes the audience feel part of the storytelling process.
According to Sagar, the novel approach of performing the play in car parks emerged through collaboration with himself, the director and the production team. The play also received support from Without Walls, a UK charitable foundation that funds site-specific art projects in unexpected locations.
He said, “The car park setting aims to make theatre more inclusive and accessible, bringing stories to communities who might not typically attend traditional venues. It transforms an ordinary, functional space into something that can tell meaningful stories about the place people find themselves in.
“Upon arrival, audience members will receive headphones, a cup of tea, and a magazine featuring works by local artists. The immersive experience includes memories, sound design, and unique perspectives from the top floors of car parks, offering spectacular city views rarely appreciated.”
Though acknowledging it’s a challenge and perhaps a risk, Sagar said the most rewarding outcomes often come from embracing such challenges.
The actor-writer is from Delhi and grew up in Hertfordshire.
Asked how his Indian background influenced his writing, he said, “I was born to parents from Delhi and grew up in Nairobi, Barcelona and Moscow until I was eight, when my family moved to England in 2001. I settled in Hertfordshire, just outside London, where I spent my formative years before later relocating to north London.
“This experience of movement and feeling ‘slightly different’ heightened my selfawareness from a young age, making me more attuned to how people respond to differences. My own background fostered my interest in storytelling about ‘big themes from small places’ and examining ordinary people’s experiences.
“As with many artists from ethnic minority backgrounds in the west, my work is underpinned by a desire to understand my place in a society that presents itself as inclusive, whilst acknowledging persistent troubling views about integration and immigration.”
Biting Point was commissioned in 2023, prior to the 2024 summer riots that swept through Southport, Hull and other towns and cities across the UK.
Sagar added, “For the play, I created Anita, a character with south Asian heritage born and raised in Grimsby (northeast England), who sounds local, but looks Indian.
“The play’s 2025 performance comes less than a year after the UK riots of 2024 – events reflecting both legitimate expressions of despair and more nefarious forces, resulting in attacks on minorities. While I resist reductive classifications of ‘British Asian’ identity, I believe engaging audiences with these complex stories of belonging and community might help them leave the theatre feeling differently than when they arrived.”
The innate human tendency towards goodness and acceptance is often forgotten as we navigate adulthood, Sagar said.
“When this fundamental nature intersects with today’s globalised, increasingly unequal world, the consequences for ordinary people can be devastating. Our political systems frequently leave those without a voice feeling more disenfranchised, while those at the upper end of the scale control media and politics. This power imbalance can lead fundamentally decent people to develop resentment. When communities change and opportunities diminish, people naturally search for explanations. However, the true causes are often more complex than we wish to believe. The 2024 riots, for example, cannot be attributed solely to asylum seekers in hotels; these communities’ grievances stem from decades of governmental neglect – closed libraries, underfunded schools, and relocated hospitals. These systemic failures can transform good people’s outlook, with potentially devastating results. Ultimately, this play aims to offer communities hope that goodness remains possible, even when circumstances seem stacked against us.”
Sagar trained with the Soho Theatre Writers’ Lab, the INSPIRE scheme at Hampstead Theatre, the London Library Emerging Writers Programme, and the Channel 4 Screenwriting Course in 2023.
The writer, who also plays Mr Praed in Mrs Warren’s Profession at the Garrick Theatre, London, later this month, said his acting journey also helped him with his writing. “I think acting is always useful. It gives you insight not only into how other creatives work – what directors and writers need – but ultimately, because you’re the one who must stand up and deliver the lines, it gives you a sense of how dialogue works and what makes for good dialogue. It also helps you understand what makes for good characters.
“Actors are naturally drawn to playing complex characters. We want to play people who have a journey in a play. You don’t want to just stand there and say one line over several hours - you want to have something to hold on to. That informs the way I write. I want to create interesting people doing interesting things, even if, at first glance, they don’t come from particularly interesting places.
Sagar added, “For example, in Biting Point, you have John, who is a delivery driver - someone doing a job most people might not pay much attention to. Then there’s Anita, a property manager, which might sound dull or ordinary. But their inner worlds, the things affecting them every day, are complicated, messy, knotty, and sometimes funny too.
“So, I think my acting background - my experience on stage performing, making people laugh, moving people - means I want to give actors the opportunity to shine and tell exciting stories. My performance background informs the way I write, and vice versa. The way I write also draws me, as an actor, to work that is challenging, provocative, and says something about the world, rather than shying away from it or accepting things as they are.”
Biting Point opens in Hull next Saturday (10) and will tour north England until June 22.
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Dylan has previously described painting as a way to “relax and refocus a restless mind”
Bob Dylan will exhibit a new series of original paintings at the Halcyon Gallery in London from 9 May. The collection, titled Point Blank, features 97 recent works and will be open to the public free of charge.
The exhibition follows renewed interest in Dylan’s life and career following the release of the biopic A Complete Unknown earlier this year. Now aged 83, the musician remains active, both as a touring performer and visual artist.
Point Blank comprises works based on original sketches Dylan created between 2021 and 2022. The subjects include musicians, couples, sportspeople, interior scenes, and locations Dylan has spent time in. The sketches were later transformed using vivid colours, which Dylan describes as “living, breathing entities that have emotional resonance”. He said the colours act as “weapons and mood setters” and serve as “a means of storytelling”.
Commenting on the intention behind the series, Dylan said: “The idea was not only to observe the human condition, but to throw myself into it with great urgency.” Some of the images include a saxophonist, a cowboy standing before a rising sun, and a mirror reflecting a set of lips. A number of the works use blue, red, and neutral monochromatic tones, prompting comparisons to Pablo Picasso’s early Blue Period.
The Point Blank collection also originated as a book and features accompanying prose. According to Kate Brown, creative director at Halcyon, “These works on paper feel like memories, intangible windows into the life and imagination of one of the greatest storytellers who ever lived.” She added that the exhibition is likely to engage viewers' imaginations, encouraging them to consider the lives of the characters portrayed and the spaces depicted.
This is not Dylan’s first collaboration with Halcyon Gallery. In the past, the venue has showcased his Drawn Blank series, which featured graphite sketches made between 1989 and 1992 during tours across Europe, Asia, and the United States. Those works were also later reinterpreted with colour.
Dylan has previously described painting as a way to “relax and refocus a restless mind” during the demands of touring life.
Paul Green, president and founder of Halcyon Gallery, said: “It is nearly 18 years since Halcyon first started working with Bob Dylan and it has been an extraordinary experience to watch this cultural icon develop into such a critically revered and important visual artist so closely.”
He added: “This latest body of paintings feels like a more intimate connection to the artist than in any of his previous work and it is a great privilege to share them with the public for the first time.”
The Point Blank exhibition will be on display at the Halcyon Gallery on New Bond Street, starting from 9 May. Entry is free.