Bonobithi Biswas/ Rhythm

An Indian multidisciplinary visual artist, curator and researcher based in Paris, Bonobithi is obsessed with trespassing figurative borders. Her synesthetic arts practice interweaves diverse analogue and digital media, chiefly mixed reality, drawing and painting, photography, poetry film, sculpture, audio art, performance, multilingual writing, and visual poetry, to create multisensory storytelling experiences. The thematic focus of her arts practice is the South Asian post-colonial historic-cultural landscape, synesthetic multilingualism, identity of the female body of colour, and intercultural dialogue through shared safe spaces. Her curatorial practice focuses on post-digital realism and media ecology for decolonial intercultural practices. She is interested in speculative fiction and psychogeography in upholding silenced narratives of vulnerability in marginalised communities, particularly among women. She has a Master of Fine Arts in Transdisciplinary New Media from Paris College of Art, Paris, France. Prior to this, Bonobithi trained in visual arts for 16+ years in the atelier of Mumbai-based artist Sayaram Waghmare, before starting to practise full time since 2021. Her eclectic academic background is a testimony to her interdisciplinary workflow and skillset, spanning across a bachelor’s degree in Chemistry, training in art conservation at the Royal Museum of Fine Arts Antwerp, Belgium, and a diploma in art history from London Art College. Having trained for 8+ years in vocal and instrumental Indian music at the Dhrupad Gharana and Gitabitan School of Music in Mumbai, her close connection with ethnomusicology and synesthesia informs her work in sound design and audio visualisation. Widely published on diverse creative writing platforms, multilingual creative writing through visual poetry and screenwriting holds a central place in her art practice. Having participated in various artist residencies and group and solo exhibitions internationally, Bonobithi’s works have been extensively displayed in cities across India, Indonesia, Italy, the UK, Spain, Belgium, Greece, Iceland, Brazil, Germany, Iran, and France. She is a member of the multicultural artist collectives COMEX-ARC and WE Collective.

Harmony, 2026

HARMONY is a project that postulates an ecofeminist reclamation of the female body’s relationship to nature. It delves into the entanglement of the sacred feminine with nature by embodying the rhythm of the ancient spirit of origin: the forest. Through movement and colour, this project embraces inventive ritualism as a reenchantment praxis, capturing the dichotomy of the body as terrain and terrain as the body. Four dancers engage in dialogue with rock formations in a pristine forestscape through postures of power, repose, and vulnerability. Skin speaks to skin, interacting with ancient sandstone surfaces through movement and dance. Textures of the forest terrain reveal natural formations that reflect the female form in flow, growth, rhythm, and senescence. The macrocosm and microcosm interplay as the forest within is reinvented in abstraction. From “the feminine within the forest,” we shift to “the forest within the feminine.” The primeval femininity of the woodlands is embraced by body-painted dancers performing against an interpretive painted backdrop. Finally, the painted body reflects the textures and formations of the wilderness. A collaborative effort between movement director Loïc Dubois, visual artist Bonobithi Biswas, and photographer Zoë Yalden, this project brings together movement and dance performance directed by Loïc, body and backdrop painting orchestrated by Bonobithi, and visual documentation in video and photography by Zoë. Unfolding around the theme of entanglement, the project explores the duality of attachment and detachment, the rhythms of the eternal and the ephemeral, and the visual polarity between the macrocosm and microcosm of the body’s inner landscapes. The symbolism of the relationship between the female body and the forest establishes a neo-myth of decolonial environmentalism, tapping into the potential of inventive ritualism to foster ecofeminist practices. This holds paramount importance in defining a paradigm for rethinking human–nature ties through a praxis of nurture and collective care.