Intricately painted Buddha, Aryatara, Krishna, and Parvati gaze serenely at visitors at the Kathmandu Art Gallery under muted amber lights. Moving from one artful devotion to the next, a quiet, profound connection to the divine envelopes the visitor. This transcends art to the realm of the spiritual. &nbsp; The gallery’s latest exhibition, Masters of Devotion, features art by 22 artists all from Bhaktapur. They also include Ajay Karmacharya, Purna Prasad Hyoju, Nhuche Kaji Bajracharya, Rajani Sinkhwal, Shashi Dhar Sainju, Surya Bahadur Chitrakar and Sundar Sinkhwal from the Khowpa Paubha Chowmi Pucha. Paubha are religious and devotional art depicting deities and mandala that date back to the 7th century, when Newa artists began to paint images of the gods on cloth. For the artists who practice this craft, the art form is as meditative as it is meticulous.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251025041028_de34b51d48bcee50ae391301e2ff1890be7ecba3df7e563537c273818825aad5.jpg" data-media-id="editor_0" data-image-id="20251025041028_de34b51d48bcee50ae391301e2ff1890be7ecba3df7e563537c273818825aad5" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="art review "> </figure>  The exhibition at the newly-opened space Kathmandu Art Gallery coincides with the festival season and is a collection of extravagant works done in mineral and stone colour, sakura and gouache. The vintage art space is located at Babar Mahal Revisited and is a fitting accompaniment to the paubha featured in the exhibit.&nbsp; Sundar Sinkhwal’s vividly painted Harihara is among the more eye-catching works. “Half of the painting is Shiva and half is Vishnu, hence the name Harihar,”explains Sinkhwal. “Together with their consorts Parvati and Laxmi, I have painted Uma-Maheswor and Laxmi-Narayan.” Nandi and Garuda, the vehicles of the two gods, complete the vibrant painting.&nbsp; In contrast, for his piece titled Lakshmi, Sinkhwal shrouds his canvas in dark colours to paint Kuber, the deity revered as the custodian to the wealth in the Hindu pantheon, accompanied by two khyak apparitions —one black, the other white— both mythical creatures in Newari folklore.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251025041032_1bde6de442b742c300bb8c9278ea8886445aa8df47076fd9aa362ce1f8bef903.jpg" data-media-id="editor_1" data-image-id="20251025041032_1bde6de442b742c300bb8c9278ea8886445aa8df47076fd9aa362ce1f8bef903" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="art exhibition"> </figure>  “The black khyak is considered inauspicious, while white ones are a symbol of good luck,” explains Sinkhwal. Purna Prasad Hyoju has used mineral paint on canvas for a powerful depiction of Ardhanareswar, the composite form of Shiva and his consort Parvati.&nbsp; “I drew inspiration from the Newari Swasthani story about the separation of Shiva and Satidevi,” says Hyoju. Legend has it that Shiva, unwilling to part from his consort, reincarnated as a unified dual gender form of himself and Parvati. Hyoju has painted goddess Parvati in bright yellow, in homage to one of her other manifestations, Gauri, which means radiant.&nbsp; Meanwhile, Ratna Gopal Sinkhwal’s Kurkula Devi, done in stone pigment, is radiant on the cotton canvas. “Kurkula Devi is a tantric goddess whose traces are found in the Sadhana Mala,” says Sinkhwal. “The stone pigment is what makes the goddess look like she is gleaming.” One of Sinkhwal’s other works draws from stories in the Mahabharat to depict Bhimsen, Draupadi, Dushasan and Akash Bhairav in confrontation, expressions fierce.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251025041028_72eea52c8504eccb8b3be7cd4cef616dfb8efd821e8b1e1ae8f440f10782be11.jpg" data-media-id="editor_2" data-image-id="20251025041028_72eea52c8504eccb8b3be7cd4cef616dfb8efd821e8b1e1ae8f440f10782be11" data-rendition-name="original" width="1280" height="854" loading="lazy" alt="art exhibition"> </figure>  The opening of the exhibition last week also featured a music session, during which some of the artists sang traditional songs. Their voices joined the rhythm of the madal and melody of the harmonium, adding warmth to the crisp autumn evening.&nbsp; Each painstakingly detailed paubha reflects the artists’ devotion to divinity and mythology, as well as their heritage. Masters of Devotion showcases the work of veritable masters of their craft, and is a must-visit for art connoisseurs and devotees alike. Says the gallery’s Sangeeta Rana Thapa: “It is our honour to celebrate the artists’ work—to stand among pieces that embody both devotion and mastery, and to witness a tradition that continues to inspire us.” Masters of Devotion Kathmandu Art Gallery Baber Mahal Revisited Until 22 November

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Artful devotion

A cosy art space in Thamel comes alive this month with soft light filtering through glass windows and settling gently on ceramic works that radiate both silence and strength. Much like specks of dust shimmering in a sunbeam, fragments of uneven mirrors scattered at the centre of the exhibition catch fleeting reflections of passersby that force visitors to reflect on <a href="https://nepalitimes.com/review/the-fabric-of-society">life and society</a>. From a distance, the mirrors resemble playful, anime-style sunny side ups in bright shades. It may look random, but on closer inspection the <a href="https://nepalitimes.com/multimedia/hari-the-potter">meticulous craftsmanship</a> reveals itself in every curve, giving more permanent shape and form to the artist’s fingers on the original clay. Alongside are cups, vases, and plates adorned with <a href="https://nepalitimes.com/review/facades-and-flowers-from-nepal-to-italy">delicate sketches</a> of animals, houses, and trees. Some have inscriptions drifting across surfaces like floating letters. The vases rise in varying heights, dressed in muted greens, while some are blended with soft browns and yellows.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025082711084_3ccb0e0e002bee9521867cbca82d56a1dc1e3ed799c5159fc07adc6f674325ab.jpg" data-media-id="editor_3" data-image-id="2025082711084_3ccb0e0e002bee9521867cbca82d56a1dc1e3ed799c5159fc07adc6f674325ab" data-rendition-name="original" width="1080" height="810" loading="lazy" alt="Firing her imagination"> <figcaption>Photo: DALAI-LA ART SPACE</figcaption> </figure>  “Ceramics have taught me patience in unpredictability,” says ceramic artist Aishworya Shakya, 26, whose work is currently on display at Dalai-la gallery in Thamel. Shakya began with simple drawings, but as she delved deeper into her studies of fine arts, she began exploring new concepts and methods of idea formation. She found herself increasingly drawn to <a href="https://nepalitimes.com/banner/take-to-pottery-during-the-pandemic">the expressive potential of ceramics</a>. “Clay is flexible and transformative, and the process of turning it into a hardened form is cathartic,” she explains. “For me, it’s about free forms, feelings, and the intangible, which often take shape in <a href="https://nepalitimes.com/multimedia/kiran-manandhar-in-the-abstract">abstract ways </a>through ceramics.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250827100812_4e2efcf1284d6589d5eafb34b276b8d4c69ebba9453efe4af9a70c51b2e31d6f.jpg" data-media-id="editor_6" data-image-id="20250827100812_4e2efcf1284d6589d5eafb34b276b8d4c69ebba9453efe4af9a70c51b2e31d6f" data-rendition-name="original" width="739" height="985" loading="lazy" alt="Firing her imagination"> <figcaption>Photo: DALAI-LA ART SPACE</figcaption> </figure>  The writings on her finished ceramics are deeply rooted in her academic explorations of personal history. Shakya contemplated family relationships, and transformed them into patterns and inscriptions on clay — giving her private meditations an extension on <a href="https://nepalitimes.com/review/an-ode-to-the-ordinary">life and lessons</a>. “It is never fixed what I want to make when I begin,” says Shakya. “There might be a frame, but never anything too specific. My forms come through an intuitive process. If I try to meticulously plan everything, it never works out, so I just let it flow.” What begins as an imagined idea often transforms through the process, shaped by the unpredictability of clay and fire, keeping her grounded and open-minded. Shakya’s works usually undergo three rounds in the furnace: beginning with bisque firing, followed by layers of engobe underglaze mixed with pigments, which she applies in three coats before the second firing. Finally, she adds the glaze before the final firing. The most demanding part is actually in <a href="https://archive.nepalitimes.com/news.php?id=13617">preparing and mixing the clay</a>, removing bubbles, and refining it so the final product has at least some predictability, she says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025082711080_d4856f6f195e9b2ad06144832121da0068aaf0f94800c483b278a204fbf3865e.jpg" data-media-id="editor_9" data-image-id="2025082711080_d4856f6f195e9b2ad06144832121da0068aaf0f94800c483b278a204fbf3865e" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Firing her imagination"> </figure>  The title Burned and Being comes from the ceramic-making process itself. “But more than just the process, it is an embodiment of my existence. As a person learning to take up space, I am filling my surroundings with things that inspire and align with me to create a sense of being and take a stand for myself,” Shakya explains. The artist is now looking ahead to expand her art beyond vases and mirrors to explore more sculptural forms. Burned and Being Till 30 September 11am to 7pm Dalai-la Art Space, Thamel

Firing her imagination

Georgia O’Keefe, a foundational modernist painter most known for her floral and landscape paintings once said: “One can’t paint New York as it is, but rather as it is felt.” O'Keefe's residency in the city occurred during its extreme architectural expansion. Her lesser known body of work is entitled ‘My New Yorks’ and the series of paintings are a bird's eye perspective of New York City. The ongoing exhibition ‘Under the Same Roof’ at Siddhartha Art Gallery by Subodh Bhandari and Sambridhi Ratna Shakya resembles O’Keefe’s ‘love letters to New York’.&nbsp; Bhandari, a Patan newcomer and Shakya, a Patan native, work together to honour their architectural surroundings using mixed media. ‘A Walk Through the City’ is a conglomeration of miniature window replicas.&nbsp; The duo took snapshots of rapidly changing communities, and both styles are similar in their directness. The two artists reconstruct observations through stylistic fabrication, and capture the sensation of traversing a street, suddenly making ordinary objects artistic.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025072210078_3297b124286d188c641120c0742ced23ea15d75906d4454135f758dde501b0fe.png" data-media-id="editor_0" data-image-id="2025072210078_3297b124286d188c641120c0742ced23ea15d75906d4454135f758dde501b0fe" data-rendition-name="original" width="2150" height="1438" loading="lazy" alt="From the outside looking in"> </figure>  ‘Under the Same Roof’ centres around Patan’s doors, powerlines, and most notably windows. The two artists roam alleyways looking for features that pique their interest, committing them to memory with photography.&nbsp; Bhandari and Shakya do not allow the objects to go unnoticed, forever examining details which others frequently overlook. For the artists, rendering everyday entities creates unification through relatability. Their overall message focuses on coexistence and interconnectedness. Specifically how easily accessible, recurring items, visible to all, establish familiarity and speak volumes via silence.&nbsp; The artists inject bits of lived experiences into their reproductions, concealing personal artefacts such as bed sheets or posters within windows. They place humanity upon inanimate objects, allowing for exploration of a unified history.&nbsp; Each window represents a personal memory rather than something imagined, as they are constructed from photographs the artists themselves took. Walking into the gallery feels as if you are entering a collective memory. The approximately 500 wooden windows, with photo transfer and acrylic details, engulf the first floor.&nbsp; The incredible amount of small windows establish an immersive experience, prompting the viewer to question, whose homes are attached, what type of people have lived there and for how long? The diversity of each piece astounds the eye. With so much repetition, how can the individual elements be entirely unique?&nbsp; Windows are a common occurrence, present in any building. Viewing this commonality clustered together reveals the personal rather than architectural elements which make them individualistic.&nbsp; Their quaint Patan studio is on the second floor of a residential building with a blindingly mint green room, slightly dusty from the drills and grinders used for constructing and polishing sculptures.&nbsp; Bhandari says he has always yearned for an artistic lifestyle, whereas Shakya picked up a knack for it after a classroom quarrel regarding his artistic abilities at Kathmandu University where both had the same motivation to capture their surroundings.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250722100712_b1d54221ed9e3806a48a98943e9fd4c80c535957144ce6d94b20e788f4a9a4b7.png" data-media-id="editor_1" data-image-id="20250722100712_b1d54221ed9e3806a48a98943e9fd4c80c535957144ce6d94b20e788f4a9a4b7" data-rendition-name="original" width="1078" height="1430" loading="lazy" alt="From the outside looking in"> </figure>  The two differ in being native and new to the Patan area. So, is this exhibition about new vs native? Bhandari replied: “The idea of new vs native is no more about new vs native, it’s more about new and native, both the things coexisting together.” This is a metaphorical representation of their windows: what can you know about someone from outside appearances? Each window represents a specific period in time, whether it was constructed yesterday or 20 years ago, whether it houses a young family or one which has lived there for generations. The message is to understand how these elements help us coexist, by placing these varying periods of life centimetres apart from each other. It creates a space in which being surrounded by others is inevitable regardless of differences.&nbsp; Star Ross is an undergraduate at Princeton University studying Medical Anthropology alongside Visual Arts and Climate Science.

From the outside looking in

Seldom do we see the smaller things, read between the lines, and realise that the little, fleeting moments are what shape our realities. As we trace the light &amp; dust, Haru Art Collective’s first group exhibition at Dalai-la Art Space revisits the value of these moments. Through the works of ten artists, the exhibition <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">details our everyday</a>, ordinary lives, making viewers relate, reflect, and bask in nostalgia. One such piece is Moulik Limbu’s यादहरु सपना जस्तो लाग्छ, a dreamy blue landscape rendered in watercolor and gouache where <a href="https://nepalitimes.com/here-now/where-wild-things-are">birds and animals</a> emerge subtly through still, royal-azure leaves. As children, Limbu would stay up late with his brother, imagining fantastical creatures from the shadows outside their window, but at dawn, they would discover they were just leaves. Those quiet nights formed lasting memories that continue to tug at Limbu’s heart which he now preserves in his art. Nischal Gurung’s Familiar Echoes captures the soft emotions of togetherness. Whether it is a person or familiar <a href="about:blank">household objects</a> we often overlook, they stay with us. In काक्रा र करेन्ट, the warmth of huddling together for a meal is carefully portrayed, highlighting how closeness often unfolds in the most mundane of moments.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250721130756_b567c9b5559a81bec03ba5417b6967c1f5849b7ddf7f33b4282e8e9479d40b82.jpg" data-media-id="editor_3" data-image-id="20250721130756_b567c9b5559a81bec03ba5417b6967c1f5849b7ddf7f33b4282e8e9479d40b82" data-rendition-name="original" width="776" height="476" loading="lazy" alt="An ode to the ordinary"> <figcaption>Familiar Echoes by Nischal Gurung</figcaption> </figure>  In another piece, Anil Nepali’s work explores the haziness of distant memories. What seems like a normal painting from afar becomes increasingly blurred up close, much like how traffic lights lose clarity when seen through misty eyes. This visual metaphor mirrors Nepali’s own experience of fading recollections from home which he reconstructs through pixelated squares and muted monochrome tones. The result is a powerful reflection on the fragile, fading <a href="https://nepalitimes.com/review/etched-in-our-memory">nature of memory</a>. Viewers will see the attempt to reconnect with ancestral roots and traditional practices. The Arrival of Bun-Dyo by Kabir Kayastha, depicts the rain god Bunga Dyo during the <a href="https://nepalitimes.com/opinion/the-reign-of-the-god-of-rain">Rato Maytsendranath Jatra</a>. Meanwhile, Shrayam Shakya explores his lineage's deep connection with land and water in his piece, From the Ground. “The oral traditions and stories of my ancestors become the remnants of the land and the knowledge that existed,” he tells us. At the centre of his exploration is the Yaksha – a nature spirit that embodies land and governs the essence of water. For Shakya, the Yaksha is not just a mythological being but also a symbol of ancestry.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250721130728_4c1c4fb646df20bb7f72bc77dc2e71383468e0dc0a187c69e84a82f67ab49288.jpg" data-media-id="editor_6" data-image-id="20250721130728_4c1c4fb646df20bb7f72bc77dc2e71383468e0dc0a187c69e84a82f67ab49288" data-rendition-name="original" width="1000" height="667" loading="lazy" alt="An ode to the ordinary"> <figcaption>From the Ground by Shrayam Shakya</figcaption> </figure>  Terracotta, the material he uses, reinforces this rootedness. “It is used in the architecture of hitis and is connected to the land, so it carries the essence of the theme.” As <a href="https://nepalitimes.com/review/morals-in-murals">oral histories</a> and traditions continue to fade, Shakya believes art becomes a vital archive. Jyotsna Udas explores themes of femininity in her work. She says, “In my work, I embroider objects <a href="https://nepalitimes.com/review/of-women-for-women-by-women">tied to femininity</a> – those that adorn, restrain, and define.” Using delicate strands of her own and her family’s hair, she weaves silent but powerful stories of inherited expectations, unspoken rules, and the confined spaces women are told to occupy -- a quiet testament to the strength and complexity of feminine energy. “I cut my hair short every once in a while. It makes me feel free, free from all the burdens, but I get scolded by people at home when I do, or when I dye it,” she tells us. “Long hair is still seen as the beauty standard. Hair colour is taboo. People stare. Women become self-conscious. And when people can judge just based on something as personal as hair, it makes me wonder – how much more do we have to hear in life?”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250721130736_05107d9661e5d210a6c522ed2909b1a93c6dc3f6eb46bb425737e9ce15163e79.jpg" data-media-id="editor_9" data-image-id="20250721130736_05107d9661e5d210a6c522ed2909b1a93c6dc3f6eb46bb425737e9ce15163e79" data-rendition-name="original" width="1000" height="667" loading="lazy" alt="An ode to the ordinary"> <figcaption>Not Just Hair by Jyotsna Udas</figcaption> </figure>  Sadishree Thapa’s A Room that Waits explores the subtle yet profound difference in a house that comes with the presence and absence of a person. When the person is there, it feels like home, otherwise, it is hollow. ‘A room waits, for the warmth of a presence, for the sound that you said were home,’ reads the artist's profound accompanying note. Places Where Dust Settles by Preeti Duwal captures the quiet beauty of everyday household objects, how they gather dust and the silent stories. Rojan Ghimire explores offerings and the subtle traces of life and birth, while Raunak Karanjit’s cyanotype work reflects on memory, identity, and the fading presence of a once-familiar marigold. The artists weave together objects, places, life, and memory, into layered <a href="https://nepalitimes.com/review/the-reading-compass">stories</a> shaped by our daily rhythms and reflections, and transform the familiar into the extraordinary. As we trace the light &amp; dust Till July 30 11am-7pm Dalai-la Art Space, Thamel

An ode to the ordinary

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

This is the 65th episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab. Right from my childhood, it seemed like I was lost in my own world. I was not interested in studying, I never paid attention in class and was completely disconnected from what the teacher was saying. I was not into <a href="https://nepalitimes.com/opinion/migrant-worker-finds-farming-in-nepal-more-rewarding">farming</a> or chores, which used to make my parents angry. Instead, I would scribble on the walls using clay and our <a href="https://nepalitimes.com/here-now/opening-their-home-to-others">mud-thatch house</a> was covered with my amateur art. There was <a href="https://nepalitimes.com/here-now/how-they-kept-nepal-in-the-dark-ages">no electricity</a> and I used to draw all night in the light of an oil lamp. My parents used to be irritated, but they started understanding my obsession with art. With time, my <a href="https://nepalitimes.com/here-now/early-nepal-drawings-come-full-circle">drawings</a> started improving. A turning point was when I drew my grandfather’s sketch. It brought a smile to his face.&nbsp; I overheard him talking to my father and other elders, saying the drawing was very realistic. That was very encouraging. But in class, teachers would punish me for not paying attention -- except my principal, who is now in his 70s, and encouraged me to participate in district-wide competitions. While I never did, the acknowledgement uplifted me. After Grade 7 I had to switch schools to one that was two hours away. My craft improved, and the science teacher was impressed with my artwork. By Grade 10, I was getting recognised for my art and would even be paid, for example by the school, to paint its signboard and drawings.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042705048_70b1e770c5c7126beaaf9b91c0eed0cbdb5ebf4abbfb64734a294664078c6de0.jpg" data-media-id="editor_4" data-image-id="2025042705048_70b1e770c5c7126beaaf9b91c0eed0cbdb5ebf4abbfb64734a294664078c6de0" data-rendition-name="original" width="1080" height="590" loading="lazy" alt="The world of a working artist"> </figure>  My uncle’s son told me it would be a good idea to go to Lucknow to pursue my <a href="https://archive.nepalitimes.com/article/review/Dhwoj-Gurung-Review,1936">passion for art</a>. There in India, I was exposed to diverse talent. My cousin had seen something in me, and we even started an Art Shop, which was a great learning experience.&nbsp; After Lucknow, I went to Chitwan to work at an art gallery under Prakash Thapa, a renowned artist who became my mentor. I used to watch his work closely as an employee and followed instructions, but I still lacked in-depth knowledge since I did not have any formal training.&nbsp; He advised me to go to Kathmandu and join Lalit Kala campus. I had the hunger to learn, but the campus did not take a student who had not passed SLC. So I went back to school, and was embarrassed that my former classmate was now my teacher. But I did not let that hurt my pride.&nbsp; Unlike my<a href="https://nepalitimes.com/here-now/82-in"> childhood days</a> as a weak student, this time I had a newfound purpose as a student. I passed, and I used to go to Lalit Kala Campus in the mornings and work during the days.&nbsp; One day, a friend offered me a job in Saudi Arabia where I could get paid to do art. Lucknow, Chitwan, Kathmandu—I had switched lanes, but now I had finally found a clear path that offered more stability and allowed me to focus on art.&nbsp; Starting in 2006, I worked in Saudi Arabia at an art gallery for ten years. I used to draw <a href="https://nepalitimes.com/banner/nepali-calligrapher-at-large">large paintings</a> that were kept in Saudi mansions and even palaces. I also painted ceilings, walls, even swimming pools.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250427050412_6685d36eca2fcd92649bb8d8d3f93972f62337c416c1caeca96999f83db88384.jpg" data-media-id="editor_8" data-image-id="20250427050412_6685d36eca2fcd92649bb8d8d3f93972f62337c416c1caeca96999f83db88384" data-rendition-name="original" width="720" height="942" loading="lazy" alt="The world of a working artist"> </figure>  Taking up art professionally in Saudi Arabia also introduced me to the works of global artists like Van Gogh and Picasso and helped me grow. But as an artist, I had to create <a href="https://archive.nepalitimes.com/news.php?id=13008">my own identity</a>, give my work my personal touch.&nbsp; At first, we copy the works of the great masters but as we mature, we start adding our own individuality. This is perhaps the journey of all creators, including singers who start by covering the songs of the greats.&nbsp; After a decade in Saudi Arabia, I returned to Nepal in 2017, but I did not find what I was looking for. And the money here also did not allow me to fulfil my duty as a father. After two years, I migrated to Dubai to work as an interior decorative artist. While I have painted art that hangs on the walls of some of the most luxurious palaces in the Middle East, I come from humble beginnings in Nepal.&nbsp; I had started out painting on clay walls of my home with brushes made from the tail hair of cows. Those art pieces I made on the walls of my house are now just etched in my memory. I had struggled in Saudi to get wider recognition as an artist but in Dubai, it was different. I started making portraits of famous Nepali personalities during my free time. These sketches, such as my picture of the late Satya Mohan Joshi, got wide attention on <a href="https://nepalitimes.com/news/no-comment">social media</a>. This was another turning point.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250427050412_aa45b66c31cb9e7b40f4fb23774addd893438180995f822b9c31866ffe90e1bd.jpg" data-media-id="editor_11" data-image-id="20250427050412_aa45b66c31cb9e7b40f4fb23774addd893438180995f822b9c31866ffe90e1bd" data-rendition-name="original" width="853" height="1280" loading="lazy" alt="The world of a working artist"> </figure>  Art draws me. I am hungry for art. When we are hungry, we find food no matter what. It is the same with art. When you have a hunger to create, you will create no matter what. In Saudi Arabia, I used to paint all night before going for my full time job in the morning. You never get tired, you are always encouraged and focused. Your creations will fuel you, make you content. And the more you enjoy it, the more excellence and depth there is in your work. But other than art, I am also interested in music and literature. Perhaps it is in my genes as both my parents were into music and they used to sing during community events in the village. As children, we used to write songs and sing them during cultural events. From songs, I started dabbling into poetry. Just the way I learnt art through noted artists, I also tried to learn from great poets like Bhupi Sherchan and <a href="https://nepalitimes.com/review/laxmi-prasad-devkota-in-english?fbclid=IwZXh0bgNhZW0CMTEAAR2VmkikQOjLTMsX1QRb8N6WjgJJ6IL1mMUb5F9Q4GDYodQVsMOhLnhj5rQ_aem_YhzUzG_aT5Mdxf4-pbVIgg">Laxmi Prasad Devkota</a>. I have published two books of <a href="https://archive.nepalitimes.com/news.php?id=10242">poems</a>, and my third one, Dhago, will be released this June in Darjeeling by Buk Ant. When I retire from my <a href="https://nepalitimes.com/banner/speaking-the-language-of-overseas-work">life overseas</a>, I want to dedicate my time to more art and literature. All my life, I have created for others as per their preferences, although I take a lot of ownership of the work I do.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250427050412_c97a9cc80aebb4a5e8e2a3e071f077b15fb3f85cf05920d2ca6302774c6d895c.jpg" data-media-id="editor_15" data-image-id="20250427050412_c97a9cc80aebb4a5e8e2a3e071f077b15fb3f85cf05920d2ca6302774c6d895c" data-rendition-name="original" width="1627" height="2048" loading="lazy" alt="The world of a working artist"> </figure>  But in Nepal, I want to start my own <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">art gallery</a> and create art based on my own interests and passions. All of us have our own priorities in life. Some are driven by money, others by community service. People often ask me why I do not have property in Kathmandu despite spending so many years overseas. I have never hankered for material goods. I enjoy <a href="https://nepalitimes.com/review/art-and-poetry-in-motion">art and literature </a>and want to get lost in it. Just like when I was a boy, I am lost in my own world.

The world of a working artist

Bhaktapur is all about ritual, resistance, and remembrance. Now a <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of artists</a> is exploring the city of devotees through art. Balkrishna Banmala was a child <a href="https://nepalitimes.com/review/deity-devotion-and-divine-dance">deity dancer</a> who performed sacred tantric rituals. But what many saw as divine honour for Banmala was a time stolen from his childhood. “On the surface, it looked beautiful to be honoured with offerings and prayers,” Banmala tells us. “But behind the masks and the barefoot dances, we were children denied a normal life. No school, no shoes, no time to play.” Banmala is now an artist and his canvases are part of the Chitra Katha exhibition at <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Siddhartha Art Gallery</a>. His artwork blur the line between the sacred and the everyday: a masked deity riding a bicycle, a divine child licking an ice cream cone. Some of these images have sparked outrage in his own community. “When I first exhibited these works, community leaders saw them as betrayal,” adds Banmala. “Some even tore up my paintings. A police complaint was filed. But I believe art must speak the truth even when it is uncomfortable.” His <a href="https://nepalitimes.com/here-now/painting-a-painter">paintings</a> at Chitra Katha incorporate circular motifs inspired by the Navadurga Jatra where Banmala weaves cosmological cycles into his paintings, saying, “In the cycle of life: Brahma creates, Vishnu sustains, and Shiva destroys. My work reflects this cycle--today, tomorrow, and beyond.” Read also: <a href="https://nepalitimes.com/review/old-art-meets-new">Old art meets new</a>, Sikuma Rai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250424110456_8f9008ff390c9e49dbd60d4c0a887e04f249686a8d1db3329cc0d66dc3a0737f.jpg" data-media-id="editor_5" data-image-id="20250424110456_8f9008ff390c9e49dbd60d4c0a887e04f249686a8d1db3329cc0d66dc3a0737f" data-rendition-name="original" width="848" height="809" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Brahma by Balkrishna Banmala Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  For Banmala, <a href="https://nepalitimes.com/banner/the-art-of-healing">art has become a form of therapy</a>, a step to healing the inherited burdens of tradition. “Children in my community continue to be worshipped at the cost of their dreams. I want them to have what I didn’t. My <a href="https://nepalitimes.com/banner/art-as-a-call-to-action">art is my protest</a>, my hope, and my prayer.” Altogether, 28 artists from <a href="https://nepalitimes.com/banner/clash-of-cultures-in-bhaktapur">Bhaktapur</a> are exhibiting their works at Siddhartha Art Gallery with everyday stories of the city in the form of paintings, drawings, ceramics, printmaking, light installations. Many works use local materials like terracotta, wood and cement, grounding their expressions both literally and metaphorically in Bhaktapur’s soil. Narayan Bohaju’s diptych Floating Hopes II offers a dreamlike view of <a href="https://archive.nepalitimes.com/news.php?id=15106">urban chaos</a>. Public vehicles float alongside lotus leaves. The visual texture almost resembles Studio Ghibli, and invites onlookers to romanticise even the most distressing reality, thereby offering some hope even in unexpected places. In Echoes of Childhood Community, Bohaju returns to Bhaktapur’s spiritual core. A towering temple-like chariot teems with figures in communion: local vendors, families, fruit baskets, religious icons--anchoring a city where sacred and mundane coexist.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412044_81a2b9042948ed7edc871671b486bb14fa1a137e09119b0a0bb945236a72619c.jpg" data-media-id="editor_10" data-image-id="2025042412044_81a2b9042948ed7edc871671b486bb14fa1a137e09119b0a0bb945236a72619c" data-rendition-name="original" width="1999" height="1721" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Echoes of Childhood Community by Narayan Bohaju</figcaption> </figure>  Meanwhile, <a href="https://nepalitimes.com/review/reimagined-roots">Pooja Duwal</a>’s series Custodians of the Ephemeral celebrates the beauty in the ordinary. Rendered in oil, her scenes capture fleeting moments of men in dhaka topi, elders sipping tea, neighbours chatting at street corners. Her remarkable works showcase unremarkable everyday scenes. Reminiscing Memories by Srijan Ulak uses pen and ink to trace the fading outlines of <a href="https://archive.nepalitimes.com/news.php?id=19496">Bhaktapur’s architecture</a> and <a href="https://nepalitimes.com/here-now/building-homes-on-a-deadline">ancestral homes</a>. His detailed work speaks to nostalgia, and the slow erosion that came with <a href="https://nepalitimes.com/review/rice-fields-to-concrete-terraces">urbanisation and concrete</a>. For artist Anjila Manandhar, power comes from turning personal struggles into sacred strength. Her artwork often features skulls and divine figures but they represent her, she tells us. “The heads and skulls I draw are like those of Chamunda or Kali. But I gave that power to myself. I made myself the <a href="https://archive.nepalitimes.com/news.php?id=16471">goddess</a> strong, playful, and defiant. It’s how I motivate myself and heal.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412040_a2c54afebe5e244cd5fed0ed30f27956c3aa317c0d8435dcc01d69352e98cbb6.jpg" data-media-id="editor_16" data-image-id="2025042412040_a2c54afebe5e244cd5fed0ed30f27956c3aa317c0d8435dcc01d69352e98cbb6" data-rendition-name="original" width="1440" height="960" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Nothing by Anjila Manandhar Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  Manandhar’s works explore identity through <a href="https://nepalitimes.com/banner/when-art-unites-what-divides-us">surreal metaphors</a>. One recurring image is of an ant with a human face. “Ants are everywhere. Tiny, sensitive, stepped on without notice. In many ways, humans are the same. We keep moving, but we rarely look down. Maybe if we did, we’d be more grounded.” Sunflowers are another constant theme, and Manandhar explains that the blossoms always turn to the sun and feel like guardians that are always rising, watching, and protecting. Anjila’s art moves fluidly between strength and fragility, empowering viewers. The exhibition also features Suraj Shilpakar, a master <a href="https://nepalitimes.com/review/in-with-the-old-in-with-the-new">woodcarver </a>deeply rooted in his family’s artisanal legacy. Woodcarving is his identity, and he strives to preserve the craft while constantly aiming to reinterpret it. Shilpakar explores modern themes through painting, printmaking, and ceramics. His Baja Gaja series is a standout at the exhibition, a sculptural tribute to the role of music in <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">cultural preservation</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412040_936a3c559c3de6f3177c5d2a01f15e765208727e54949324395668e19bbda11e.jpg" data-media-id="editor_20" data-image-id="2025042412040_936a3c559c3de6f3177c5d2a01f15e765208727e54949324395668e19bbda11e" data-rendition-name="original" width="3222" height="2177" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Baja Gaja series by Suraj Shilpakar</figcaption> </figure>  The piece is built in the tudal style. The struts represent support. He says, “It honours how youth and <a href="https://nepalitimes.com/here-now/the-sacred-female-energy-of-shakti">women uphold traditions </a>through music. Today, <a href="https://nepalitimes.com/here-now/the-musical-bridge-between-past-and-present">music isn’t just a celebration, it holds culture together.</a>” The work is a reminder that tradition can evolve, adapt, and inspire, while keeping its essence. Each piece at the Chitra Katha exhibition is a meditation on heritage, belief, and identity. The lotus reappears as a quiet metaphor for resilience amidst chaos. The skulls, deities, and age-old rituals find their place beside evocations of temples, myths, and ancestral echoes. Themes of religion, tradition, mortality and divinity recur. Bhaktapur’s artists offer their intimate stories, inviting onlookers to find personal resonance within the folds of collective memory. They are building new ways for future generations to remember their lives. Chitra Katha Siddhartha Art Gallery, Baber Mahal Revisited Until 11 May Sunday to Friday 11AM-5PM Saturdays 12-5PM

Between the sacred and everyday

A <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of Nepali artists</a> is exploring bold narratives and experimental themes, pushing boundaries, and redefining societal conventions.&nbsp; That could be one perspective on the exhibition ‘I Am Rooted, But I Flow’ at <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Takpa Gallery</a>. Curated by Pratima Thakali, it showcases works by eight female artists who explore the interplay between identity, culture, and personal evolution. Artists Anmari Tamang, Kripa Shakya, Kripa Tuladhar, Krisha Tamrakar, Pooja Duwal, Priyanka Singh Maharjan, Sony Rai, and Sumitra Baral bring together diverse perspectives that challenge traditional narratives and invite a fresh thinking of <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">Nepal’s cultural landscape</a>. These emerging female artists compel us to contemplate the evolution of <a href="https://nepalitimes.com/here-now/inking-an-idenity">identity</a>, where tradition and transformation coexist in an ever-shifting cultural terrain. The title, drawn from Virginia Woolf’s The Waves, reflects the core theme: the balance between the stability of <a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft">our roots</a> and the fluidity of our evolving selves. Krisha Tamrakar co-director of Artudio draws inspiration from her hometown of <a href="https://nepalitimes.com/here-now/patan-for-beginners">Patan</a>, and her fascination with human spaces. <a href="https://nepalitimes.com/here-now/lost-in-translation">Familiar landmarks are disappearing</a>, a theme that deeply influences her work through her series of Between Colors and Spaces. “Traditional brass utensils have begun to blend seamlessly with modern, colourful clothing in my neighbourhood,” she says, explaining her Between Colors and Spaces XXI.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844.jpg" data-media-id="editor_7" data-image-id="20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844" data-rendition-name="original" width="3599" height="2400" loading="lazy" alt="Reimagined roots NT"> <figcaption>Artist Krisha Tamrakar draws inspiration from her hometown Patan in her Between Colors and Spaces series. Photo: KAILASH K SHRESTHA</figcaption> </figure>  Tamrakar notes how metal brass utensil shops that once lined the streets have now been replaced by clothing and shoe stores, which also makes us ponder about the effects of rising consumerism. Read also: <a href="https://nepalitimes.com/here-now/the-art-of-living">The art of living</a>, Kunda Dixit Tamrakar believes contemporary art is essential because it allows her to express herself in the present while providing a lens for future reflection. Despite the surrealist images in her work, she thinks the local community will be able to relate to it as her art integrates everyday aspects of their lives. The founder of Artudio Kailash K Shrestha reflects on the inspiration behind his space in 2010: “Back then, there were no accessible platforms for local, young, and emerging artists. There was a lack of open spaces where artists could come together to collaborate, exchange ideas, inspire one another, and offer mutual support." While Tamrakar thinks every artist’s work is valuable, she also acknowledges the underrepresentation of <a href="https://nepalitimes.com/opinion/from-paintbrush-to-tattoo-needle">female artists</a> in the contemporary art scene and encourages greater inclusion. Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a>, Aayusha Pokharel ‘To All The Women Who Came Before Me’ by Priyanka Singh Maharjan is another artwork series that stands out. Using embroidery on fabric, she represents the often-overlooked and unacknowledged <a href="https://nepalitimes.com/multimedia/nepals-working-women-in-photos">work of women</a>, particularly mothers, and grandmothers, a role that is indispensable in society. ‘Amidst the Watts of Steam’ series by Pooja Duwal showcases a three-decade-long local momo shop, Na: pasa: in Bhaktapur. The ambience in which the food is made and consumed outweighs the food itself as it is more about the sense of familiarity and warmth that make customers inhabit the space.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52.jpg" data-media-id="editor_12" data-image-id="20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52" data-rendition-name="original" width="1505" height="1129" loading="lazy" alt="Reimagined roots NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526.jpg" data-media-id="editor_13" data-image-id="20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526" data-rendition-name="original" width="1189" height="1585" loading="lazy" alt="Reimagined roots NT"> </figure>  Kripa Shakya and Sony Rai also incorporate unconventional mediums into their work. Shakya uses <a href="https://nepalitimes.com/multimedia/weaving-the-fabric-of-a-new-life?fbclid=IwZXh0bgNhZW0CMTEAAR2V6f30hX4eilYDsJKsIZVffQN3SCev4wJJxVYUxPIxY28mHcjlL9XOSmQ_aem_D-yqkaobj1DveD4Uytym3w">fabric</a>, nails, and string along with other mixed media to represent shared experiences of interpersonal conflicts and acceptance, while Rai presents intricately woven threads through aquatint to find beauty in simplicity. Sumitra Baral’s sculptures interpret <a href="https://nepalitimes.com/here-now/fusion-fashion">fashion</a> as not just an outward beauty but an expression of inner artistry and cultural heritage. Her art label reads, ‘Fashion is not just about attire; it is a symbol of identity, a definition of personality, and a living story of culture.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4.jpg" data-media-id="editor_16" data-image-id="20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4" data-rendition-name="original" width="1147" height="1529" loading="lazy" alt="Reimagined roots NT"> </figure>  ‘I Am Rooted, But I Flow’ gives a voice to fluid, multifaceted experiences of how our identities are shaped by both deep-rooted traditions and the transformative forces of personal growth. I Am Rooted, But I Flow 8 February - 8 March Takpa Gallery &nbsp;

Reimagined roots

Four Nepali and four Dutch artists will feature in a project to draw attention to what has been lost as Kathmandu Valley is transformed from an integrated rural-urban society to a metropolis of 4 million people. The transition has happened just in the last 30 years with the growth accelerating after the start of the 10-year conflict in 1996. What was once an emerald valley has turned into a concrete jungle. The NEDNEP3 2024/2026 art project of the eight artists will unfold in two phases with a current show till 5 January in the Netherlands, and during the Kathmandu Triennale in February 2026. The ongoing exhibition is in the northern Dutch city of Haarlem at <a href="https://www.devishal.nl/kunst/from-burning-rice-fields-to-urban-growth/" target="_blank">De Vishal</a>, a popular hub of contemporary art.&nbsp; The exhibition is curated by Dutch artists Erna Anema and Renate Schwarz, who have been frequent visitors to Nepal and they have selected the works of four Nepali artists (Sujan Dangol, Kripa Tuladhar, Sunita Maharjan and Sagar Chhetri) along with artists Maartje Smits and Liesbet Bussche and themselves from The Netherlands. Anema and Schwarz spent five weeks at the ceramics workshop of Dil Bahadur Prajapati in Thimi, making their ceramic sculptures for this project and meeting Nepali artists and planning their collaboration. Sujan Dangol was in The Netherlands during the preparations and the grand opening of the exhibition at De Vishal in Haarlem. He also conducted workshops there and at the renowned Rietveld Academy in Amsterdam.&nbsp; Erna Anema’s work is titled Moraines to Clay and uses clay, oil on canvas in a large installation. She says, “I want to take you on a journey from the pressed clay circles of the Kathmandu Valley supported by sculptures representing the moraines to the towering ice giants of the Himalayas, which are represented on the left wall in sculptural forms.” Anema’s installation includes two clay tiles sourced from one of the valley’s remaining fertile rice fields.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804128_04e9ed612274775036fc408a7d957e446b84402926b535c7b740ccd0b4a84442.jpg" data-media-id="editor_1" data-image-id="2024122804128_04e9ed612274775036fc408a7d957e446b84402926b535c7b740ccd0b4a84442" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Erna Anema's Moraines to Clay</figcaption> </figure>  Liesbet Bussche’s Building Rings are grinded and sanded out of clay blocks, a light building material often used in quick expanding areas of the city. The installation of the carved rings is combined with brick dust and explores urban materiality from a makers perspective. Liesbet’s first project with clay was realised with Pukar Risal in 2008 in the streets of Kathmandu during NEDNEP 1. Kripa Tuladhar’s Remembrance of Shadows is made of traditional lokta paper and thread and evokes the Asan neighbourhood, which she says becomes a canvas of its people, marked by those who have passed through it. “Layers of movement from the footsteps of our ancestors, crumbling bricks and windows, and the future pushing its way against the old reshaping it,” she adds, “cutting out these traces in paper, layering them, like the city’s layers of history, memories of the city are encapsulated in fleeting shadows.” Renate Schwarz has sculptures titled Jars of Then and Now with clay and plastic taps that draw attention to water. The abundance of it in the lake that was once Kathmandu Valley, torrential rain, the glacial streams in the mountains. Water irrigated the Valley’s soil, making it fertile. Says Schwarz: “The transformation of the Kathmandu Valley has struck me ever since my first visit in 1984. What a mega tsunami of change has come over this valley … with my sculptures I express the delicate balance between water, clay and craftsmanship.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_92e1b1a2b10f9fc3e91691989bf44302d9b1ce81c77b0187db2c9f0e3579667d.jpg" data-media-id="editor_2" data-image-id="2024122804124_92e1b1a2b10f9fc3e91691989bf44302d9b1ce81c77b0187db2c9f0e3579667d" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Renate Schwarz's Jars of Then and Now</figcaption> </figure>  Nepali photographer Sagar Chhetri’s Brutality of Geometry explores the definition of land and how earth, soil, vegetation all become monetised commodities. The photographs depict the greed that drives the ecocide of hillsides by real estate ‘plotting’ on the Valley’s rim. The photos show maps of property, and Chhetri explains: “As an artist, I wish to respond to and investigate this geometry of brutality on the land in depth.” Sujan Dangol’s Mandala is a mixed media tribute to the original fertility of Kathmandu Valley with a collection of 54 types of grain, beans, and spices that used to grow here. He also collected bamboo, copper, glass, plastic, and steel utensils to represent the shift from an agricultural era to an industrial one. “The place which we call home—the Earth—is not only ours. Coexistence with animals, birds, plants, insects, water, and soil is essential for the well-being of our Ecosystem,” Dangol says.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_058b88c5a00c1a8ab178b37a734cfb900eeb090d8e5602eb6469049e28300a98.jpg" data-media-id="editor_3" data-image-id="2024122804124_058b88c5a00c1a8ab178b37a734cfb900eeb090d8e5602eb6469049e28300a98" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Sujan Dangol's Mandala</figcaption> </figure>  Sunita Maharjan’s Curtain of Change is stencil print on handmade cotton and depicts her hometown of Kirtipur, where the ancestral lands of her ancestors are now occupied by Tribhuvan University. “The continuous influx of students has altered the fabric of Kirtipur - both figuratively and literally,” Maharjan says. “In Curtain of Change I want to document and comment on the evolving identity of my hometown, where urbanisation, industrialisation, and educational migration intersect, leaving both visible and invisible marks on the community.” In Wild Bees in the Netherlands Maartje Smits uses letterpress prints on paper to show the &nbsp;sudden disappearance of honeybees in Europe, and how the artist decided to become a beekeeper, hoping it would help. But honeybees are competing for survival with wild bee species. “Just as with the Kathmandu Valley, the Dutch landscape has been hollowed out and built up.” She says. “Food and nesting places for flying pollinators are scarce, so trying to save one species can mean the demise of another.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_16461120522a119da0966d714da5e20f67c123fccc8a029419dc344e5d6b35ea.jpg" data-media-id="editor_4" data-image-id="2024122804124_16461120522a119da0966d714da5e20f67c123fccc8a029419dc344e5d6b35ea" data-rendition-name="original" width="1658" height="1000" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> </figure>  NEDNEP3 2024/2026 From Burning Rice Fields to Urban Growth De Vishal, Haarlem (29 November-5 January) Kathmandu Triennale in Nepal (February 2026)

Rice fields to concrete terraces

This year’s Miami Art Week brought high-profile openings and exhibitions with some exciting exhibitions and installations from South Asia and Nepal. The event was a dynamic mix of galleries, immersive installations and schedule packed with must-see art fairs, pop-ups, and cultural events with Art Basel taking centre stage.&nbsp; This was the 22nd edition of Art Basel and brought in 286 galleries from 38 countries, the largest contemporary art event in US with 75,000 visitors, collectors and art lovers.&nbsp; The Art Week has the NADA fair featuring the work of Nepali ceramic artist Shushank Shrestha, who had a whole booth by the French Gallery, Galerie Lefebvre &amp; Fils. Louis Lefebvre, director of the gallery had reached out to Shrestha last year after seeing photos of his graduating show in New York. &nbsp; A whole booth for a single artist is an honour, and it showcased Shrestha’s 14 brightly coloured ceramic figures that playfully explore mythical characters from Nepali culture and blends it with the artist’s fascination for super-heroes. The figures evoke a touch of humour, childhood memories of fun and family moments.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122508128_49675d8240747eaa76403605db7a0b6767952b0198ab565f65026e3dc9ec9870.jpg" data-media-id="editor_0" data-image-id="2024122508128_49675d8240747eaa76403605db7a0b6767952b0198ab565f65026e3dc9ec9870" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepali artist at Miami Art Week NT"> </figure>  Shrestha’s mastery in the techniques of ceramic making can be observed from the glazed gigantic, free-standing multi-coloured Garuda with extended wings that take centre stage. It has minute details providing an emotional connection to viewers familiar with Nepali culture.&nbsp; Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a> The exhibition drew much attention from visitors, with many marveling at its attractive presentation and the artist’s ability to maneuver the flexible medium into imaginative characters through the coiling technique.&nbsp; The challenge of <a href="https://nepalitimes.com/banner/take-to-pottery-during-the-pandemic">ceramic making</a> is that the process from the start to the finish is delicate, the clay itself being sensitive to moisture when moulding and to heat when firing.&nbsp; Shrestha’s booth is a powerful reminder that <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali artists have entered the world stage</a> following the footsteps of Lain Singh Bangdel, Siddhimuni Shakya, Lok Chitrakar, Mukti Singh Thapa, Udaya Charan Shrestha, Ang Tsherin Sherpa, Hitman Gurung, Koshal Hamal, Sneha Shrestha, and others.&nbsp; Shushank Shrestha is a Kathmandu-based artist and a graduate of New York State College of Ceramics at Alfred University. He received his BFA from Kathmandu University School of Arts in 2016, and his work has been exhibited in Nepal, Pakistan, China, France, and the United States.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122508128_ebfae6a66c43872b968e76df82ca8189b93ca28a5ffe17e5c93ae295953b4ba4.jpg" data-media-id="editor_4" data-image-id="2024122508128_ebfae6a66c43872b968e76df82ca8189b93ca28a5ffe17e5c93ae295953b4ba4" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepali artist at Miami Art Week NT"> </figure>  Galerie Lefebvre &amp; Fils was founded by Henri Lefebvre in 1880 with an eclectic collection and has a legacy of exchanges with museum curators and ties with private collectors. In 2009, the gallery started to focus on contemporary ceramics, highlighting the renewing nature of the medium and its relevance to society.&nbsp; Read also: <a href="https://nepalitimes.com/banner/nepal-art-now-in-vienna">Nepal Art Now in Vienna</a> Another highlight of the art week was the Great Elephant Migration from India. The installation on Miami’s South Beach featured a hundred life size elephants from the <a href="https://www.unesco.org/en/mab/nilgiri">Nilgiri Biosphere Reserve</a> in South India. The individual elephants were all hand crafted by <a href="https://www.therealelephant.com/coexsistence-collective">Coexistence Collective</a>, a group of 200 local indigenous artisans and designed by <a href="https://www.shubhranayar.com/">Shubhra Nayar</a>.&nbsp; The elephants are made from an invasive weed that crowds out other native species and reduces biodiversity threatening to overtake the natural habitat of Indian elephants. The project also provides sustainable income for the local community through 20 villages with workshops that make the elephants.&nbsp; Ashish Kapoor, a London-based Indian artist, sucks viewers into a vertiginous concavity that confound our perception. &nbsp;Wangechi Mutu, a Kenyan American multi-disciplinary artist presents culturally specific and transnational presentations of contemporary realities, while offering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis.&nbsp; Swosti Rajbhandari Kayastha is curator at the Nepal Art Council.&nbsp;

Nepali artist at Miami Art Week

Climber, expedition leader and later a supplier of bottled oxygen to Himalayan mountaineers, Henry Barclay Todd died on 3 November 2025 in his favourite place on earth, Kathmandu.&nbsp;
Todd was larger than life, a metaphor often used, yet it could not be more fitting. Standing nearly 2m tall, and possessing an unshakeable will, he lived life on a grand scale, both in body and spirit.&nbsp;
Todd was a pillar in the Himalayan climbing community, supporting many mountaineers across Nepal and Pakistan, making it possible for them to fulfil the dream of standing on the world’s highest peaks. He believed deeply in the strength, skill, and potential of the Sherpa people, and offered them opportunities that might otherwise have remained out of reach.&nbsp;
“Thank you, Henry. Your trust changed my life. Rest in peace, my leader, my teacher, my friend,” said Dorjee Gyelzen Sherpa in his tribute.
Born in 1945 to Royal Air Force officer Henry Todd and May Todd of the Women’s Royal Air Force, Henry spent his early years in Singapore. He led a lively childhood with his two brothers, far removed from the mountains that would later define his path.&nbsp;
A gifted swimmer like his father, Henry never pursued the sport professionally. Instead, after returning to Dundee as a teenager and attending seven different schools, he set off for London, where he began working for an insurance company before finding his true calling in adventure.
Henry Todd first came to Nepal in the mid-1980s and made his first attempt on Ama Dablam in 1987, an expedition that marked the beginning of an extraordinary and colourful climbing career. <a href="https://www.himalayandatabase.com/" target="_blank">The Himalayan Database</a> lists 61 expeditions that he led in Nepal alone — there were more in the Karakoram, Argentina and the Alps.&nbsp;
But Todd would joyfully say that a few hard Scottish ascents held a more personal meaning to him than even the greatest Himalayan summits.
Over the decades, he crossed paths with many legendary climbers like Anatoli Boukreev, Jerzy Kukuczka, Doug Scott and Chris Bonington as well as celebrities including members of Pink Floyd and Nobel Prize laureates whom he befriended.&nbsp;
He had a gift to never name-drop, but would simply mention that he had had lunch with Minnie Driver (niece of his long-time friend Andra) or that he had bought his first car from Donald Sutherland. For Todd, these were not bragging rights, they were simply part of the colourful tapestry of his life.
Todd’s life was filled with extraordinary experiences from surviving plane crashes, avalanches and earthquakes to quietly solving countless problems, which was one of his favourite past-times. His hands, famously large and steady, were always ready to help whether in the chaos of the mountains or the calm of a base camp.&nbsp;
With his sharp sense of humour and the beloved exclamation “Whoopie!”,he could bring lightness even to the toughest moments. He never tired of taking on challenges or helping when someone was in need, and he enriched so many people’s lives with his endless stories.
His legacy is immense. He helped build the human backbone of Himalayan climbing, enabling generations of climbers to test themselves in the world’s highest places. With his passing, an era of bold, spirited Himalayan guiding has come to a close.
Todd survived by a loving family, many close friends and a global community of climbers and Sherpas who will never forget him and his endless tales.&nbsp;
His family said in a statement: ‘Henry’s strength, warmth and unyielding belief in others will live on far above the clouds. He was indestructible in our eyes and in our hearts, he always will be.’
There will be a memorial service at Pashupati Temple in Kathmandu on 8 November 2025 around lunchtime.

Henry Barclay Todd, 80

The autumn mountaineering season is not over yet, and already there have been 12 fatalities on Himalayan peaks in Nepal.
Of the 1,450 climbing permits issued, 436 were for Mt Ama Dablam (6,812m), 374 for Mt Manaslu (8,163m) and 186 for Himlung Himal (7,126m). There were deaths on all three mountains.
The death of two French climbers on Ama Dablam happened before unseasonal blizzards hit the mountains. But Cyclone Montha from the Bay of Bengal brought on high winds and up to 1m of snow in the peak trekking and mountaineering season.
This increased avalanche conditions, and made helicopter evacuation of stranded and injured climbers difficult. Lower down the mountains, more than 1,000 trekkers from Nepal and around the world were stuck in the Annapurnas, Manaslu circuit and the Khumbu.
However, there have also been allegations that it was not just the weather that delayed rescues. Multiple levels of bureaucracy and the need for flight permits to restricted areas like Manang and Manaslu critically delayed evacuation flights.
Italian climbers Farronato Stefano and Caputo Alessandro were found dead in their tent at Panbari Himal Camp I (6,887m) in the Manaslu area. They had been trapped by heavy snowfall since 28 October, and their bodies were found on 4 November by a team from the expedition organisers, Sherpa Alpine Trekking Service. The team was made up of high level mountain guides and expedition leader Valter Perlino.
The team had been climbing to Camp 3 but decided to descend to base camp because of thrombosis in Perlino’s left foot. The two climbers who would eventually get trapped decided to break at Camp I, a decision that would prove fatal after the projected six-day snowfall arrived two days early.
“They were sleeping in a tent and were buried under 2.5 metres of compacted snow. It happened during the night between Thursday and Friday. While they were sleeping, absurd,” said Perlino.
A deadly incident took place the morning of 3 November, when five foreigners and two Nepalis died in an avalanche on Yalung Ri at 5,630m in the Rolwaling. They were part of a larger group of 15 that were acclimatising for an attempt on the nearby Dolma Khang (6,332m).
Local authorities in Gauri Shankar Conservation Area say calls were immediately made to helicopter companies as well as various ministries in Kathmandu that have to issue permits to fly to the region bordering China.
But the permits for rescue flights to Rolwaling Valley were delayed by eight hours. Rescue flights in these areas require permission from the Ministry of Tourism, the Ministry of Defence, the Home Ministry, and the Civil Aviation Authority of Nepal (CAAN).
Experts say this should be exempted in times of emergency when time is of the essence. CAAN spokesperson Pratap Babu Tiwari claimed to not know of the avalanche on Yalung Ri and deflected questions to the permission department.&nbsp;
There was a similar tragedy on Himlung Himal in Manang as well. Australian Chin-Tark Chan, 49, was climbing with 8K Expeditions and fell ill on 27 October at about 6,800m, developing snow blindness and loss of mobility. The guides immediately called the US insurance company Global Rescue for authorisation of a longline rescue.
Global Rescue refused, saying a rescue at that height would violate Nepal’s aviation rules and put the pilot at unacceptable risk. They asked the guides to transport Chan to Camp 3 at 6,400m to a permitted altitude. Seeing it was a life-or-death situation for its client, 8K called in an aerial rescue anyway, but the helicopter could not land due to bad weather. Chan died slightly below Camp 3 on 29 October.
Global Rescue said in a statement that it was ready to send in a helicopter after Chan had been transported to Camp 3, but several hours were lost for that attempt, and the weather did not get better in the next few days.
To underscore just how dangerous helicopter rescues in the Himalaya can be in bad weather, a chopper from Altitude Air skidded off the helipad at Lobuche below Mt Everest while trying to rescue trekkers in whiteout conditions.&nbsp;
CAAN announced a ban on flights during blizzards or dense fog. While rescue missions are often heroic and courageous, they should not be foolhardy if conditions are unsafe and the risk to pilots and rescuers too high. This autumn was a lesson for future expeditions and for the Nepal government.&nbsp;
The Italian duo on Panbari were caught out by snow that arrived two days ahead of schedule, but the group on Yalung Ri should have postponed their ascent after multiple warnings from the Department of Hydrology and Meteorology to avoid high altitudes.

Deadly autumn in Himalayan climbing

This is the 73rd episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab providing a platform to share experiences of living, working and studying abroad. I don’t remember playing with dolls as a little girl. There is not much to remember from my childhood.&nbsp; My responsibilities began at a very young age, as I had two younger brothers to take care of. I was born in Sarlahi, but we moved around quite a bit as my father was in the government and got transferred frequently.&nbsp; From Rasuwa to Dang, from Nepalgunj to Kathmandu. I struggled to adjust in Kathmandu because I joined Grade 9 in the middle of the term. The education was different and fellow students also did not support me initially. But over time, I adjusted and made friends. I did not dream of becoming a nurse. It was by accident. I wanted to pursue medicine, but failed the entrance exam by a few marks. I did not want to lose a year, so decided to take up microbiology instead.&nbsp; I got married after my undergraduate, and my husband encouraged me to take up something more technical like nursing or engineering instead of Masters in Microbiology. As my quantitative background was weak, I chose nursing. I felt like I was born to be a nurse. Juggling my married life and studies was difficult. My teachers would often ask me why I am falling behind. It was not easy, but I managed and took up a full-time job as a nurse. There are challenges being a nurse in Nepal. You are overworked, underpaid, there is lack of appreciation. Superiors can be overbearing. These problems persist. But the bright spot is that you get to serve fellow Nepalis, and be close to your family.&nbsp; Just like I had no intention initially of becoming a nurse, I had no intention of migrating overseas. But life had different plans for me. After my baby boy was born, I noticed that something was off. Even at nine months he had not started crawling or sitting. As a nurse I knew something was wrong, and I took him for check-ups. He tested negative for down syndrome, but he had a heart defect.&nbsp; The cardiologist recommended that I take him to India where he was diagnosed with Williams Syndrome, a rare genetic condition that affects 1 in 10,000 people. It delayed his development. I looked for therapy. It was either not effective, or too expensive. Some schools also refused to admit him, and it drove me to tears.&nbsp; My family members overseas in the UK, US told me to emigrate as there were better facilities for differently abled children. So I decided to apply to the UK. Luckily just then there were calls for candidates under the Nepal-UK government-to-government pilot scheme for 100 nurses. Only 40 met the criteria, and I was one of them.&nbsp; I still remember the day I received the news on the day of my puja. There were people around me, and they told me that it was the result of my fasting and devotion on that auspicious day. Perhaps it was. Life was taking a new turn, and I was happy. I made it to the UK in February 2024 without paying a single paisa to any broker. The G2G scheme was unique as we were treated with dignity and valued for our skills: they covered costs for the ticket and visa, reimbursed us for exams we had taken and costs involved in the preparation and testing of the Objective Structured Clinical Examination were also covered.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251106071148_dc5a0d0ea3024b34a4f2735754f8eb67a650bc7f61b98c75d589676c65b02a0c.jpg" data-media-id="editor_0" data-image-id="20251106071148_dc5a0d0ea3024b34a4f2735754f8eb67a650bc7f61b98c75d589676c65b02a0c" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Nurses NT"> </figure>  It was of course difficult to leave my son behind. But I was doing it for his future. I had the option of taking him from the start, but it was a new place and I wanted to be well-settled and knowledgeable about the options available for him before bringing him along. As I packed, he would ask me to take him with me in my suitcase. It did not seem like he was affected by my departure, and it was only later that his teachers said that he would express his feelings more openly at school. He just did not know how to tell me he missed me, and he would tell teachers he was worried I had forgotten him if we did not speak for a day.&nbsp; He missed me, and that realisation made me emotional. But I had to carry on. Life in the UK was difficult in the beginning. Even so, I wanted to prove to myself that I could do it. Fortunately I had cooperative staff who patiently answered my questions. I think I would have been irritated if I were in their place. But they did not seem to mind, and their support and guidance made it easy for me to adjust to the new work environment. APPRECIATION I still struggle to understand the accent of my English patients, and have ask the matron for help. They compliment me on my English, but I can speak better than I understand. The good thing about working in the UK is that you are appreciated for your work, which can be motivating. Sometimes, after a long day’s work you get a message from your supervisor acknowledging your work with a thank you. That’s enough to erase your tiredness.&nbsp; So far I have received 32 WOW nominations which are acknowledgements from patients for a job well done. It can be motivating, especially in the beginning. The main difference between the Alpana who first left Kathmandu for the UK and the Alpana now is that I am a much more confident person. What makes a good nurse? Skills, knowledge and qualifications are of course a given. But mostly, you need humanity. A smiling face. The way you communicate. Your empathy. These attributes can already solve many problems that patients are facing. This is my second time back home in the last 20 months. And this time, I have arranged for my son’s visa. I will go back after Tihar with my son and husband.&nbsp; I am happy, but also a little nervous about what awaits us. What kind of school will I put him in? Will it really be different from schools here? Will his needs be addressed? Will it be like here, or will he be able to adjust?&nbsp; But I am determined to make it work. Success for me would be if he adjusted well and there is a change in his condition. He still cannot recognise alphabets and read words like kids in his age group. Hopefully he will get learning support in the UK. He also has a knack for music, and this is common among individuals with Williams Syndrome. His ears perk up when he hears music, and he takes part in musical events at school. He still does not recognise letters &nbsp;but he uses voice commands to search for guitar videos on YouTube. I will enrol him in music classes, and help him develop this gift. For now, I worry how he will behave on his long flight. He has a short attention span and gets restless. He is also very social and will want to speak with everyone around him, and might irritate fellow passengers.&nbsp; I have already started trying to make him understand that he will need to behave on the flight. He nods in agreement. Let’s see how it goes. &nbsp;

“I felt like I was born to be a nurse”

A month after September’s GenZ movement in Nepal, nurses working in private hospitals took to the streets demanding better work conditions, and salaries equal to what government nurses are paid.&nbsp;
The strike started at Pokhara’s Manipal Teaching Hospital before spreading nationwide, and nurses working at government hospitals joined in.&nbsp;
Nurses at private hospitals are forced to work for far less than Nepal’s minimum monthly wage of Rs19,550 — without overtime, breaks, and other benefits and under physically and mentally taxing conditions. This is driving many qualified nurses to emigrate.
For newly-appointed Health Minister Sudha Sharma Gautam in the interim government, the strike became her first order of business. She met representatives of the Nursing Association of Nepal (NAN), the protesting nurses, and others from the health sector.&nbsp;
An agreement was reached under which private hospitals and medical colleges will pay nurses a minimum monthly salary of Rs34,730. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
“It is a shame that nurses have been working under such exploitative conditions all this time” says Radha Adhikari, at the School of Health and Life Sciences of the University of the West of Scotland. “The agreement is basic, and there is a long way to go to improve their working conditions. But it is a start.”
NAN chair Chandrakala Sharma has said the ministry’s task force to look into working conditions will also look into facilities for nurses in government hospitals.&nbsp;
“We are committed to solidifying the wage agreement by amending relevant laws within this month,” Sharma said in a video posted by NAN on Facebook. “Our movement is not over, we are still protesting and &nbsp;following up with the Ministry.”
NAN issued an ultimatum to the government to implement the agreements within 48 hours. That deadline has now lapsed and the nurses are back on strike. Many of those protesting now accuse NAN of betraying them.
Jyoti Ranabhat of the Nurses Struggle Committee was present in the meeting, but refused to sign the agreement. “It did not address what we were demanding, we will now go it alone into Plan B,” she tells Nepali Times.&nbsp;
Previous grievances of the nurses did result in similar agreements, but private hospitals failed to comply with government’s past directives — most recently the minimum salary and benefit determined by the state in December 2024.&nbsp;
The Nepal Nursing Council says there are 126,580 registered nurses, specialists, midwives, and Auxiliary Nurse Midwife (ANM) professionals in Nepal. Yet, nursing positions at hospitals remain vacant.&nbsp;
The reason for understaffing is a mass emigration of medical professionals, including nurses. Nursing student enrollment is also declining and there is disinterest in a profession that does not afford health workers quality of life, respect, or dignity.
“Our fight is not with the private sector, it is by definition profit-oriented, our grievance is with the state,” says Ranabhat. “The government is responsible to provide us dignity, respect, and fair pay.”&nbsp;
GREENER PASTURES
Poor pay and working conditions are driving doctors and nurses abroad in large numbers in recent years. Many have simply quit the profession, leading to a shortfall in medical professionals. 

The shortage of nurses is a global phenomenon, and countries like the US, UK and Australia have compensated for their own shortage by offering jobs from countries like the Philippines, India and Nepal.&nbsp;
Nepal Nursing Council data shows that outmigration of nurses rose sharply after 2002, and an estimated &nbsp;20,000-45,000 nurses have left since.
“The state’s denial, derision, and disregard of nurses has caused resentment and disillusionment in the community, driving nurses out,” says Ranabhat. “Ultimately, Nepalis will pay the price when there are no nurses left here.”
Many Nepali nurses who have gone abroad are happy with the respect and quality of life in their jobs abroad. But many others face exploitative recruiters in Nepal and employers abroad. Nursing consultancies have mushroomed as nursing colleges struggle to meet demand.&nbsp;
Adhikari herself worked at United Mission Hospital Tansen before moving to the UK 30 years ago, and remembers that working conditions then were much better for nurses.&nbsp;
“Nepal’s health sector has gone downhill since privatisation,” she states. “Medical colleges are only concerned with supplying doctors and nurses internationally, because that is what makes money.”
But once Nepal’s nurses are abroad, there is no guarantee that they will have jobs in the nursing sector. Many find themselves working outside their field of expertise, in hospitality or sales.&nbsp;
“Nepal has become a production hub for nurses, and Nepali nurses have become products for export,” adds Ranabhat. &nbsp;“People might think this will add to remittances, but no one is thinking about what will happen to Nepal’s health sector.”&nbsp;
For many, nursing has become a way out of Nepal rather than a vocation. In 2022, the government signed an agreement with the UK to send Nepali nurses to work there at zero cost, with benefits and protection equal to UK nurses.&nbsp;
The pilot phase was expected to recruit 100 nurses, and applications opened in July 2023, with 45 nurses said to be selected by Britain’s NHF representatives by the end of 2023. Forty-one of them obtained labour permits.&nbsp;
They may be treated well, but the reality of working in the international health sector is not as straightforward.
Radha Adhikari told us from Scotland: “Market saturation, exploitation, discrimination based on race, gender, and foreignness prevent nurses from finding the right, respectful jobs even here. Ultimately, migration cannot be sustainable for Nepal’s nurses.”

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