Art has the power to shape perspectives, preserve history, and inspire generations. For one young curator, the journey into this world was not just a profession but a calling, shaped by deep familial influences and a relentless drive to think beyond the traditional. From her very first curated show, Divine, to the latest grand spectacle of Living Temple that features 30 artists from across India bringing to Hyderabad 100 artworks, each interpreting ancient temple art and heritage through their individual artistic lens, Annapurna Madipadiga, has come a long way. She is an art curator from Hyderabad, and Founder of EkChitra – a platform poised to revolutionise the way we perceive, appreciate and embrace art.

It has been a journey of exploration during which time she has consistently expanded the boundaries of curation, creating immersive experiences in contemporary art space even while celebrating India’s artistic heritage.

Childhood Filled with Conversation over Art and Visual Experiences
It is perhaps destiny that Annapurna gravitated towards art. Her father, Rohini Kumar, was the first artist in their family. Despite resistance from his own father, who wished for him to pursue medicine, he followed his passion for art and studied at JNAFAU. While his career went in the direction of commercial art space, running an advertising agency, their home was always filled with discussions on art, creativity, and technique.

“As a child, I was exposed to an artistic environment while he worked, paintings adorned every wall, and conversations revolved around composition, colour palettes, and framing. Travel was another mode of artistic education. My father introduced me to senior artists, landscapes, rockscapes, and the temples. His roots were amidst the lush greens of Konaseema but the arid, rocky landscapes of Hyderabad fascinated him. They became an integral part of my early artistic understanding,” shares Annapurna on her growing up with art and art conversations around her.

Despite this deep-rooted passion for art, her path was not initially set in stone. She almost pursued a commerce degree before realizing that it was not for her. With her father’s encouragement, she enrolled at Potti Sriramulu Telugu University, where she studied painting, later completing her master’s degree at JNAFAU. The natural next step would have been to establish herself as an artist, but fate had other plans.

An unexpected opportunity at a gallery introduced her to the world of curation. Initially assisting with various tasks, she soon found herself making creative decisions, from selecting artists to writing notes for exhibitions. Her father’s passionate explanations about compositions, colour balance, and the stories behind artworks had given her an intuitive understanding of art that extended beyond creating it—she had the ability to curate experiences.

Annapurna’s First Independent Show
Taking the leap into independent curation was inevitable. When she left the gallery, unsure of what was next, a call came from another gallery offering her the chance to curate a show. That show, Divine, marked her first major step as a curator.

Divine was more than just an art show. The curator shares, “It was an exploration of spirituality and artistic interpretation. Each artist was invited to present their own vision of divinity, whether through depictions of gods and goddesses or through abstract representations of nature and the universe.”

The show was a resounding success, garnering attention from across the art world and leading to an immediate opportunity with Gallery Veda in Chennai. This recognition reaffirmed her belief that curation was not just a role but her true artistic expression.

Chitram – An Ode to Indian Cinema
Her next major project, Chitram, was a turning point. Unlike traditional gallery shows that operated within physical constraints, Chitram was conceived on a much larger scale, bringing together multiple artists to present their perspectives on Indian cinema. The show had on display 80 works and it was a massive success, even travelling to Delhi, establishing her as a curator who thought beyond conventional boundaries.

Her latest and most ambitious project, Living Temple, is a culmination of this journey. A mini-festival featuring 30 artists and over 100 artworks, it brought together sculptors, architects, and painters working with various mediums under a central theme—ancient Indian temple art. This exhibition not only showcased art but also pays homage to the resilience and beauty of traditional Indian art forms, which have survived centuries of ideological and physical challenges through the dedication of their practitioners.

Living Temple – The Inspiration
“The idea for Living Temple was not a sudden one; it had been brewing for years. Perhaps the inspiration goes back to my childhood visits to Ajanta and Ellora. Growing up I noticed how temple art was often overlooked—either treated purely as a place of worship or reduced to a tourist attraction. The intricate details, the artistic mastery, and the larger cultural significance are often ignored,” relates Annapurna on how the seeds of Living Temple were sown in her mind years ago.

While working on different projects, she found herself returning to the concept of temple art. The realization that it needed a dedicated space to be truly appreciated led to the birth of Living Temple. She spent two years researching, reaching out to artists, and curating an ecosystem where temple art was the focal point rather than an afterthought.

Curating a Dream
“One of the most exciting aspects of Living Temple was the discovery of artists whose work aligned with the vision of the show. Some were familiar names, like Amar Ramesh, who documented the hidden sculptures of Tamil Nadu temples, and Thotatarni Garu, known for recreating temple structures in cinematic settings. Others, like Charanjeet, who explored the architectural marvels of stepwells, or Chetan Mevada, who crafted intricate paper-based drawings inspired by temple architecture, brought new perspectives to the show.

Futuristic Vision
Curating Living Temple was an immense task, not only because of its scale but also because of its ambitious vision. Beyond showcasing artworks, the event included performances, interactive elements, and a strong narrative connecting each piece to the grand tradition of Indian temple art.

The success of the exhibition has already set the stage for future plans. “Living Temple is set to become an annual event in Hyderabad and will also travel to Chennai, expanding its reach. The goal is not just to exhibit art but to create a thriving community that continues to explore and celebrate India’s rich artistic heritage,” she adds.

As a woman following her dream and a mother to a 9-year-old she says more than work-life balance she has learnt to navigate the challenges as and when she encountered them. Like in any field there are gender issues that she says she has figured out to deal with. “When my work started to be noticed, the gender issues took back seat.”

On her approach to work she says she stays excited with her idea and being close to the narrative helps her translate it soulfully into an art show. Especially for her shows like Chitram and Living Temple, the freedom gives her space to think big.

As she moves forward, one thing remains certain: her journey as a curator will continue to evolve, always striving to think bigger, break barriers, and bring forgotten narratives to the forefront of artistic discourse.