Interview
Gaya Chandrasekaran
Gaya Chandrasekaran is a London-based contemporary artist. Born in the coastal city of Chennai, India, her artistic practice is deeply influenced by the vivid colors and rich cultural heritage of her upbringing. Her textured acrylic works, layered with palette knives and gilded with gold leaf, evoke depth, movement, and emotion, inviting viewers into a contemplative space of memory, nature and transcendence. She has trained in India and at the Slade School of Fine Art in London. Her artworks have been exhibited widely across the UK, US and Europe, with features in prominent art publications such as Contemporary Art Curator, Artist Talk, and ArtistCloseUp magazines. Gaya’s paintings have been reviewed by Tabish Khan, a renowned London art critic and are held in private collections across the US, UK, Spain, Italy, Brazil, and India - including at the London Business School, where her work remains on permanent display.
What is your background and how did you start your journey in the art world?
“I would describe my background as two parallel tracks — one where I hold three Masters degrees specialising in finance, with 16 years in Corporate and Investment Banking, and the other, a lifelong passion for art. I see them as the yin and yang of my life. Banking engages the analytical and strategic part of me, while art is my sacred space — where I slow down, process my emotions, and reconnect with myself. During my school and university years, the intensity of academic rigour led me to art as an outlet. Later, in the highly structured world of banking — defined by hierarchy, efficiency, and precision — art became my solace. What began as a coping mechanism slowly turned into a constant companion, a consistent practice that brought balance and harmony into my life. Art remains my safe space for reflection, a place where I explore the intuitive and unspoken dimensions of my experience. What started as a personal sanctuary gradually evolved into a professional path, leading to my first solo exhibition in London in 2018 and subsequent shows internationally.”
What inspires you?
“As an avid hiker it is not surprising that nature is one of my biggest sources of inspiration — its expansiveness, stillness, and cycles of renewal often find their way into my work. I’m also inspired by human resilience, transformation, and the quiet moments of introspection we rarely share aloud. My paintings often begin as an emotional charge — a memory, a conversation, or even a fleeting moment of light — and evolve into textured expressions of these internal landscapes. In that sense, I find kinship with artists like Van Gogh, whose emotive brushwork channels deep feeling, and with the Impressionists, who captured the fleeting and atmospheric. I also look to contemporary figures such as Anselm Kiefer, Frank Bowling, and El Anatsui, who treat the canvas as a sculptural and textural field, and to artists like Shirin Neshat and Wangechi Mutu, who weave cultural heritage into works that speak universally. Their practices affirm my belief that art can be both deeply personal and widely resonant.”
What themes do you pursue? Is there an underlying message in your work?
“My work revolves around four recurring themes: Quest, Soliloquy, Rebirth, and Nirvana. Each of these themes represents a stage of human experience, both personal and universal. I aim to create a space for viewers to pause, reflect, and connect with themselves in a deeper way. Quest is the seeking — for identity, purpose, connection. It manifests in landscapes that stretch into the unknown, using bold texture to evoke the terrain of inner journeys. Soliloquy is the inner dialogue. These pieces often have stillness, restraint, and muted palettes. They invite viewers to pause and listen to their own internal voice. Rebirth is about transformation. In these works, layers are scraped back or reworked to reveal unexpected beauty. It's a celebration of second chances and the wisdom that emerges from pain. Nirvana is transcendence, a letting go. Here, I use luminosity, gold leaf, and light textures to evoke a sense of peace and spiritual release. These are not rigid categories but evolving threads that weave through my work depending on what I am processing internally.”
How would you describe your work?
“My work can be described as textural abstract expressionism, infused with the light, colour, and atmospheric qualities of abstract impressionism. I build my surfaces using heavy-body acrylics, gel mediums, and palette knife techniques, creating a sculptural impasto that invites both visual and tactile engagement. Texture is central to my practice — a metaphor for the layered nature of human experience. While my themes are deeply personal, rooted in Quest, Soliloquy, Rebirth, and Nirvana, they also speak to universal emotions. Colour is used not only for visual impact but to evoke atmosphere and mood, shifting from the earthy calm of landscapes to the luminosity of gold leaf that carries connotations of light, abundance, and transcendence. In spirit, my work shares affinities with artists like Jennifer Guidi, whose meditative surfaces and rhythmic mark-making create a hypnotic depth, though my own language draws strongly from the natural world and inner emotional landscapes. I see each painting as both an invitation and a pause — a quiet, contemplative space for the viewer to inhabit.”
Which artists influence you most?
“I’m drawn to artists who work with texture, abstraction, and emotional depth. Anselm Kiefer’s monumental, material-rich canvases inspire me for the way they carry history and narrative in every layer. I have a deep admiration for Vincent van Gogh — not only for his vibrant, emotive brushwork but for the raw honesty that pours out of every stroke. The Impressionists, too, influence me for their mastery of light, colour, and atmosphere, and their ability to capture fleeting moments with immediacy and intimacy. I’m also inspired by contemporary artists who blur the line between painting and sculpture, like Frank Bowling and El Anatsui, whose surfaces invite both visual and tactile engagement. Jennifer Guidi’s meditative, tactile surfaces resonate with me for their quiet rhythm and hypnotic depth, qualities I explore in my own way through nature-inspired abstraction. I also connect with artists such as Shirin Neshat and Wangechi Mutu, who weave cultural heritage into their work while speaking to universal human themes. These influences reflect my own artistic approach — rooted in emotional truth and cultural resonance, while always seeking to create work that transcends boundaries and connects with viewers on a deeply human level.”
“My work revolves around four recurring themes: Quest, Soliloquy, Rebirth, and Nirvana. Each of these themes represents a stage of human experience, both personal and universal.”
What is your creative process like?
“I've been an avid hiker since childhood — from the Eastern and Western Ghats of India to the UK’s rugged landscapes, including climbing Ben Nevis over three times. Nature brings an added layer of inspiration, with landscapes offering a sense of expansiveness needed for pause and self-reflection. My process usually begins with a feeling — a sense of emotional charge I want to express. Sometimes it’s rooted in memory, a place, or a philosophical musing. I start with sketching or journaling to clarify the essence. Then comes the tactile part: I select my base texture, building it in layers using gel mediums and palette knives. I rarely plan the final image, instead responding to what emerges, pausing between layers to evaluate depth, balance, and energy. Gold leaf, if used, is usually the final touch — almost like sealing in the spirit of the piece. The process can take days or weeks, with space left for the artwork to breathe until it feels resolved.”
What is an artist’s role in society and how do you see that evolving?
“An artist’s role is not simply to mirror the world, but to reveal its hidden contours — the unspoken truths, the quiet tensions, and the fleeting beauty that often escapes notice. In a culture driven by speed and constant connection, art becomes a deliberate pause, a space where time slows and deeper currents can be felt. As society negotiates unprecedented change, art’s function as a bridge — between cultures, between individuals, between our inner lives and the external world — will only grow more essential. I believe the future of contemporary art lies in creating immersive, sensorial experiences that do more than please the eye: they invite participation, awaken empathy, and spark conversations that ripple far beyond the gallery walls.”
Have you had any noteworthy exhibitions you'd like to share?
“My first solo exhibition in London in 2018 was a defining moment — it affirmed my voice as an artist and connected me with collectors who still follow my work today. Exhibiting at The Untitled Artist’s Fair in 2024 and the FLUX Exhibition in 2025 were also deeply rewarding, as they brought my paintings into dialogue with a diverse group of contemporary artists and a wide public audience. I received overwhelmingly positive feedback about my unique technique and colour palette. Another highlight was having my artwork chosen for the London Business School Alumni Pledge poster for their 60th Congregation Ceremony in 2025 — a moment that bridged my professional background in finance with my parallel track of creative expression. Internationally, I’ve shown works across the US, Europe, and Asia, with pieces now in private collections in the UK, US, Spain, Brazil, Italy, and India. Each exhibition has been an opportunity to witness how different cultural contexts shape the way people respond to my art.”
Website: www.cgayas.com
Instagram: @cgayasart
