In conclusion, the latest iteration of Riya Sharma is that of a translator. She translates the invisible architecture of our digital lives into the universal language of texture, color, and form. By embracing the very tools that create our alienation—the smartphone, the social media feed, the digital glitch—and turning them into instruments of empathy, she has produced a body of work that feels both profoundly of this moment and timeless. In Ephemeral Echoes , Sharma does not ask us to log off. She asks us to look closer at the screen, and beyond it, to the trembling hands that hold it. That is the mark of an artist not just evolving, but arriving.
: Her photographs often reflect social inequality and poverty, aiming to forge a visceral connection between the viewer and the subject. riya sharma, artist, latest
Another facet of the Sharma artistic identity is rooted in documentary and street photography. Professional photographer Riya Sharma is recognized for her vibrant, calculated compositions that capture the "facts of reality" in India. In conclusion, the latest iteration of Riya Sharma
When you walk into the studio where Sharma is putting the final touches on her latest work, the first thing you notice isn't the smell of turpentine, but the silence. "I used to paint to fill space," Sharma says, wiping her hands on a paint-splattered apron. "Now, I paint to find it." In Ephemeral Echoes , Sharma does not ask us to log off
Fragments of Tomorrow will be on display at The Void Gallery starting next month.
Critics have responded with enthusiasm. The Art Chronicle called Ephemeral Echoes “a necessary antidote to the soullessness of generative AI art,” praising Sharma’s ability to infuse digital tools with raw, confessional vulnerability. More importantly, her audience—a generation raised on dual screens—has seen itself reflected in her work. The exhibition’s AR component, which allows viewers to point their phones at a blank wall and see the paintings “float” in their own space, has gone viral on TikTok, not as a gimmick, but as an extension of the work’s central thesis: that art, like memory, is no longer confined to a single place.