Contemporary artist Abhay Sehgal’s art sits at the delicate intersection of Modern Indian Art, Surrealism and hype culture. While this intersection is a widespread phenomenon thanks to AI-generated images, all of Sehgal’s work starts as hand-drawn digital sketches, then makes its way onto large canvases, prints and lately fabric as well. A graduate of the School of the Art Institute of Chicago, he has shown his work at Carousel Fine Art and David Rosen Gallery before returning to India in Miami, Method in Mumbai (2022), Sabha Art Space as part of Bangalore Gallery Weekend (2025), the Other Art Fair Brooklyn in New York (2025), World Art Dubai (2024) and Contemporary Signatures in Pune (2025). 

Gallery exhibitions haven’t been his only outlet for creating art, he has also built a significant following on social media, navigating the unique balance between being an influencer and staying deeply focused on producing large-scale paintings and prints. His journey includes high-profile commissions for celebrities such as Ranbir Kapoor and James Beard–nominated chef Sujan Sarkar for his new restaurants in Nadu, private collectors, as well as collaborations with major brands like Coca-Cola, Prada, and Tata Cliq. Sehgal’s path stands out; he works tirelessly to succeed, making art not just a profession but a way of life.

In conversation with Design Pataki, we dive into his surrealist style, on building community through Instagram and his newest venture into the world of fashion. All while he recovers from his showcase at the Other Art Fair Brooklyn earlier this month. 

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Design Pataki: Your work is known for blending surrealism with Indian culture. How do you balance these two influences, and what does this fusion mean to you as an artist?

Abhay Sehgal: When I was in art college, I was drawn to Surrealism. You know how sometimes you’re very strong-headed about a style and you want to do only that, irrespective of whether you’re good at it or not – that’s how it started for me. I spent a lot of time practising and honing my techniques when I was in the US, but it wasn’t until I returned to India that it truly became my own. I realised that I was missing this authentic connection between the work and me, and some of that has come through childhood memories and nostalgia, but I have also developed it over time and with practice. For me, so much of my childhood plays out in my artworks and practice — in some ways it’s how I process it, and at other times it serves as a trigger and I feel a rush of memories that inspire my work.

If you could have dinner with any surrealist artist (living or dead), who would it be and why?

Salvador Dali for his perspective on life, or Francisco de Goya on philosophy. 

Your art often blends dreamlike imagery with real-world elements. If your life were a surreal painting, what would the most bizarre element be?

I think my school campus, where my parents are dropping me off. That’s like a core memory that just never goes away. I keep reimagining it in different ways. 

What’s one thing people might be surprised to learn about your creative process?

That it’s as simple as anyone else’s process.

DP: In what ways has your background and education influenced your approach to blending Indian heritage with global artistic movements? Can you briefly talk about ‘Chicago Durbar’ and work from your Carpet series? 

AS: Last year, I attended a wedding, and it suddenly struck me how everyone tends to live in their bubble — myself included. It’s part of who we are, and we could become self-aware of this and try to point it out, but that would do nothing. You can’t pop it out, snap out of it, because you know, once you do, the wholesomeness in your life goes away. There are other details in ‘Family and Philosophy,’ like an elevator on the top left and bottom right– one going up and the other down — signifying the ups and downs in life. There are also other details, like a bonsai plant to signify maturity, while the melting clock is an additional element of time and also something I love putting into my work because I started perceiving my art from Dali’s work. 

 I also wanted to add that I have been very interested in carpets since college, but I always felt like I didn’t have the skill to crack it as an art form. I tried designing and making carpets in 2022, and it didn’t feel like me. So I brought it into my paintings. This was quite a challenge because the design is already so intricate, and to build on that was a challenge. I didn’t want to use it as a prop in my work, I wanted it to be a part of my work. I wanted to dive into it. It took me a couple of years to execute it in a way that I imagined it to be. Also, traditionally, carpets are supposed to be on the floor and never on the wall. So, as a contemporary artist, I wanted to play with that idea. 

 

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More recently, Chef Sujan opened a restaurant called Nadu in Chicago and contacted me for an 11×10 commission. He had no idea that I had lived in Chicago when he reached out to me. He wanted something in my style that would speak to the audience that came in. Usually, to conceptualise an idea in two days is tough, but this felt so easy. Since I had lived this life, the idea of the ‘durbar’ or a royal court came to me naturally. I wanted to interpret the durbar in a language that was very Chicago. Whenever I make these cultural blends, I always imagine what it would be like if historical characters or figures were introduced to modern life. 

The Chicago Theatre sign, for example, was something I saw every day — my dorm was right across the street. Before moving to Chicago, I wasn’t really into basketball, but the city gave me a new perspective on the sport. Small details like these, drawn from memory, naturally found their way into the piece.

 

DP: Your art seems to invite viewers into a subconscious experience. How do you want your audience to engage with your work—do you see it more as an immersive experience or a psychological reflection?

AS: Psychological reflection for sure. I don’t envision them to be immersive. I just want it to be reflective and open to interpretation. Each piece is very personal for me when I develop the idea, but once it’s out in the world, I want people to interpret it in their own way. For instance, I think you were drawn to the ‘Chicago Durbar’ piece because you could relate to it. 

 

“I think when you stop thinking about how the audience will perceive is when you make good work.”

 

Also read: A Touch Of Surrealism: Dalí’s Iconic Sculpture Finds Home In Mumbai’s Retail World

DP: In a world dominated by digital experiences, how do you think your art challenges or reflects the psychological shifts that come with living in the digital realm?

AS: I have formal training in graphic design, and I feel like I’m part of a generation that grew up alongside the internet as we know it today. When I started, digital art was still emerging and hadn’t taken off the way it has now, but I’ve always embraced that shift. It’s become a key part of my creative process. I usually start by illustrating before I begin painting; it helps me map out the finer details and experiment with colour compositions.

There’s often concern that digital media will make traditional art forms obsolete, but I don’t believe that’s true. You can’t change trends or shift tides on your own — instead, I think it’s important to adapt and integrate these changes into your practice. Take carpets, for example: it’s a dying craft, yet many creators are reengaging and bringing it back through innovation.

We’re also incredibly fortunate to have the internet because it offers access and opportunities that simply didn’t exist a few decades ago, and that’s something we can really build on.

 

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DP: How do you personally balance being an artist and managing your social media presence? 

AS: I never really saw it as a balance — to me, it’s always felt more like a duty to show up every day and stay consistent with posting. I don’t have a large collection or background to rely on, so I do feel the need to keep putting myself out there. I’ve set three posting times each day, and whether I have something ready or not, I post. It’s become a habit now.

DP: Do you see social media as a creative tool or more of a promotional platform? 

AS: I think social media combines both elements — it’s a great space to showcase your story and skills, but how you present them needs to be creative. It really comes down to how you choose to put yourself out there.

 

DP: You’ve made a successful transition from painting to fashion—a path more artists are exploring today. How has launching your fashion line allowed you to connect with audiences in ways your artwork alone couldn’t?

AS: So about four years ago, I was part of Comicon in Mumbai, and I turned my art into merchandise, and it did well. So my idea was to mix elements of Indian history with Marvel characters, and people responded so well to it. It got me thinking about launching my fashion line. It’s a completely different medium and vast, but I was pretty clear I wanted to launch a brand that talks about brown culture. I think it’s safe to say that we are all part of a generation that has truly embraced our browness, unlike those before us who still look to the West for inspiration and trends. I also felt like a lot of brands tend to be very wannabe American. Added to that is the fact that when we think of Indian clothes, it’s typically ethnic wear that is tied to a festive occasion. It got me thinking, so how do brown designers perceive streetwear or everyday clothing in contemporary India? 

 

“Code Brwn came from a desire for something which has the experience of a global world, but it truly embraces who we are deep down.”

DP: What are some of the things you are currently working on? Any upcoming projects or exhibitions in the pipeline? 

AS: I’m very excited about an upcoming collection for Code Brwn where I have introduced dresses. All of this is a new language, so I am taking my time with it. There is also the possibility of a solo show in Delhi later this year at Bikaner House. I am looking forward to it because I haven’t had the bandwidth to create focused work in a long time, since all of my projects are usually on very tight deadlines. I have also been commissioned to do some work by Ranveer Kapoor, so that’s another thing I am working on. It’s a full circle moment because he was a childhood hero growing up.