Lived realities of Ladakh
Skarma Sonam Tashi is the first artist from the region to win a National Award
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The post-nuclear landscape, that slight numbing of the mind as the oxygen plays hard to get, the peculiar collage of the ancient intersecting with the contemporary… monks blending in with soldiers carrying Kalashnikovs — Ladakh has this unique ability to pause each thought but also shock and awe with a roller coaster of unending visual hits. And in contrast emerges art that may be rooted in regional sensibilities, but never fails to dwell upon universal concerns.
This holds true for Ladakhi artist Skarma Sonam Tashi, who has made history by becoming the first person from his region to win a National Award at the recent 64th National Exhibition of Art.
This 27-year-old’s artwork ‘My Homeland – 3’ is a striking piece that combines aspects of memory, ecology and resilience. He draws inspiration from the area’s commanding mountains, unending valleys and sustainable architectural traditions. His usage of native materials, including wood, stone and sun-dried bricks, blends in seamlessly with the surroundings; besides, papier-mache from old books and natural pigments reflect this sustainable philosophy.
The work invites viewers to reflect on ecological balance and the pressing need for sustainability by serving as a metaphor for Ladakh’s delicate landscape.
For Tashi, the news about the award was “almost unbelievable”. “I was stunned — in every way. ‘My Homeland – 3’ is not only a personal reflection of belonging, but also an invitation to think about the urgent need for sustainability in our times,” he says.
While Tashi stresses that nature has been his closest companion, formal training came at Jammu University (BFA) and an MFA degree from Kala Bhavana in Santiniketan. “A workshop with the Ladakh Arts and Media Organisation set me on a career in art,” informs the artist, who received much guidance from local sculptors.
Tashi’s practice rejects the postcard image of Ladakh and emphasises the region’s lived realities. “Balancing the tourist gaze means shifting the lens from what visitors see to what those who live here feel,” says the artist.
Inside his studio in Ladakh, visitors can discover an ‘organised chaos’, complete with piles of old notebooks, papier-mache, soaked cardboard... Each piece evolves as a conversation between the artist and the landscape, and the process is instinctive, informed by memory and material.
The emerging art festivals in Ladakh, like the sa Ladakh Biennale, have become important venues for local and foreign artists to interact with the environment and culture of the area. Ask Tashi about it, and he says, “I participated in the first edition in 2023, where I created a site-specific work at Disko valley. My approach was to paint landscapes on mountains without leaving a trace, using recycled and biodegradable materials like old notebooks and local clay. Through it, I wanted to reflect the fragility of glaciers, biodiversity and Ladakh’s changing environment.”
“Festivals like these are not only platforms for artistic expression but also environmental advocacy. They are vital for nurturing artists and connecting Ladakh to wider artistic conversations,” he says.
Even as artists in Ladakh face obstacles owing to the topography and dearth of significant galleries, Tashi advocates for infrastructure, mentorship, and accessible art education. “Although small projects and organisations have offered vital support, I see more opportunities in the integration of fine arts education at the university and school levels.”
Drawing inspiration from everyday rhythms, music, literature and architecture, Tashi sees himself as a link that draws on Ladakh’s traditions, whether it is the indigenous architecture, sustainable ways of living or the deep connection to the land. “These elements are part of our cultural DNA, and I feel a responsibility to carry them forward.” At the same time, he works with contemporary materials and forms.
In that sense, he sees his practice as a bridge: rooted in Ladakh’s past, yet responsive to the challenges and vocabularies of today. “My hope is that by weaving together history and modernity, I can create art that speaks both to my community and to a wider global audience,” he concludes.
— The writer is a freelance contributor
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