Gauland is my satirical response to the state of our nation today. It began with a sleepless night scrolling through Twitter, where I encountered opinions, observations, and responses that felt monstrous—people unleashing the animal within themselves and losing the ability to differentiate between right and wrong. This thought stayed with me and eventually gave birth to Gauland. The series imagines a future in the year 5017, where archaeologists uncover artworks from a lost nation once called India. These works depict humans in everyday situations but with cow heads—a mystery that perplexes the archaeologists. To reflect this fictional story, I combined traditional pen-and-ink line art with digital colouring, adding vibrant flat tones to emphasize how monstrosity hides behind sophistication and charm. The cow, as the central figure, is a deliberate nod to its symbolic place in our country today - a metaphor for the current sociopolitical landscape. Gauland isn’t about sending messages but about sparking thought. It challenges the perceptions of art and reflects the chaos of today through humour and reflection. GAULAND, my solo exhibition in 2017, was unique in its journey—it was showcased in two very different spaces. First, it was exhibited in a non-conventional gallery setting—the corporate office of Qualcomm in Whitefield, Bengaluru, where art became a tool for dialogue, reaching an audience that may never have stepped into a traditional gallery. Qualcomm embraced the idea, transforming part of its workspace into an art gallery for two days. From there, GAULAND moved to Reves Art Gallery, a more conventional art space, giving the exhibition a second life in a traditional setting. Seeing the same artworks resonate with two very different audiences was an incredible experience. Watching people gather around, engage, question, and converse—first in a corporate space, then in a gallery—reinforced my belief in art’s ability to spark dialogue, no matter where it is shown.