Shivam Kumar

सनातन सर्वोच्च🚩 मोदी का परिवार

7 days ago

@rajeshkshitij नमन

High_Shivam retweeted

UNI Photos

@UNI_Photos

8 days ago

In Photos | Security has been tightened and barricades increased around Jantar Mantar and central New Delhi ahead of a planned youth-led protest by the Cockroach Janta Party (CJP) and opposition groups demanding the resignation of Chief Election Commissioner Gyanesh Kumar over alleged irregularities in voting and electoral rolls. 📸: Shivam Kumar / UNI

UNI_Photos's tweet photo. In Photos | Security has been tightened and barricades increased around Jantar Mantar and central New Delhi ahead of a planned youth-led protest by the Cockroach Janta Party (CJP) and opposition groups demanding the resignation of Chief Election Commissioner Gyanesh Kumar over alleged irregularities in voting and electoral rolls.

📸: Shivam Kumar / UNI

741

High_Shivam retweeted

Sabir Haque

@haque_sabir

8 days ago

Good clicks, Shivam. @shivam_newsie

Who to follow

@sanatani58

oh! motherlands living for you is life, and living without you is death🚩

Geeta Dubey

@geetadubey574

Union bank of India,Nation Lover,Proud to be Indian

Ankit Kumar Mishra

@MishraAnkitBjp1

कार्यकर्ता @bjp4india ,स्वयंसेवक @RSS , माँ भारती के सेवक, @Journalist I,m follow @narendramodi @myogiadityanath

8 days ago

@haque_sabir Thank you so much sir 🙏

High_Shivam retweeted

about 1 month ago

univartaindia1's tweet photo. 🔴 #BREAKING | राम मंदिर ट्रस्ट के नए कोषाध्यक्ष महेश भागचंदका एम2के ग्रुप के चेयरमैन, अशोक सिंघल फाउंडेशन के ट्रस्टी और विश्व हिंदू परिषद (विहिप) के पूर्व नेता अशोक सिंघल के रिश्तेदार हैं।

#MaheshBhagchandka | #RamTempleTrust | #RamMandir | #RamTemple | #Ayodhya | #AshokSinghal | #VHP | #M2KGroup | #AshokSinghalFoundation | #UNI | #UNIVarta

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High_Shivam retweeted

about 1 month ago

uniindianews's tweet photo. 🔴 #BREAKING | Mahesh Bhagchandka, the new treasurer of the Ram Temple Trust, is chairman of M2K Group, trustee of Ashok Singhal Foundation and relative of former Vishwa Hindu Parishad (VHP) leader Ashok Singhal.

#MaheshBhagchandka | #Treasurer | #RamTempleTrust | #M2KGroup | #AshokSinghalFoundation | #VHP | #VishwaHinduParishad | #AshokSinghal | #UNI

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High_Shivam retweeted

about 2 months ago

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High_Shivam retweeted

about 2 months ago

High_Shivam retweeted

about 2 months ago

uniindianews's tweet photo. United News of India (UNI) is strengthening its editorial workforce and inviting applications for newsroom roles across India. We invite experienced newsroom professionals with a strong commitment to credible, accurate and responsible journalism to join UNI. If you have proven newsroom experience and a passion for journalism, we would like to hear from you.

📩 Send your CV to hr@uniindia.com

#Hiring | #JobAlert | #JournalismJobs | #MediaJobs | #EditorialJobs | #NewsroomCareers | #JoinUNI | #CareerOpportunity | #NowHiring | #Writers | #Editors | #DelhiJobs | #MumbaiJobs | #HyderabadJobs | #KolkataJobs | #ApplyNow | #UNI | #UNIUrdu #UnitedNewsOfIndia

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High_Shivam retweeted

2 months ago

Exclusive Interview: Sadhna Gupta on Psychology, Abstraction, and the Inner Canvas From decoding the human mind as a psychologist to translating complex psychological landscapes onto canvas, Delhi-based artist Sadhna Gupta explores the unseen dimensions of human existence. Working under the creative handle Sadhu Tree, her work bridges the gap between psychological insight and fine art. In this exclusive interview, Gupta discusses her transition from psychology to abstract art, her creative process, the relationship between the conscious and subconscious mind, and the hidden narratives that define her internationally exhibited works. Question: Your background is quite unique, having transitioned from a career in psychology to becoming an internationally exhibited visual artist. How did your journey into the world of non-representational abstraction begin? Answer: My transition wasn't a sudden departure from psychology; rather, it was a natural evolution of the same fundamental curiosity. In my first career as a psychologist, I spent years listening to what people didn't say. I realised early on that we all present ourselves very differently on the outside compared to the turbulent and rich inner worlds we inhabit. When words or traditional narratives fall short of capturing those complex layers, art steps in. I am self-taught, which actually gave me the freedom to bypass traditional rules and dive straight into non-representational abstraction. I believe our inner realms don't necessarily relate to real-life shapes or forms; they relate to energy, emotion, and unspoken truths. Question: You often describe your work as an exploration of hidden narratives and the human psyche. When you stand before a blank canvas, how do those psychological insights translate into oils, acrylics, or charcoal? Answer: It starts with a feeling of excavation. People construct elaborate personas to navigate the outer world, but beneath those masks lies a deeply intricate narrative. When I paint, I try to bring those hidden thoughts, moods, and desires to the surface. Sometimes, those narratives are structured, almost like a story waiting to be told. But at other times, there is a sense of chaos and disarray, and that's where things become truly interesting. When a conventional narrative dissolves, the canvas becomes a dynamic interplay of lines, planes, and dots of colour. They converge and diverge, creating an orchestrated symphony. Question: That idea of an "orchestrated symphony" emerging from disarray is fascinating. How do you want viewers to interact with that chaos? Do you want them to decode a specific message, or is it more about their own reflection? Answer: It is entirely about their own reflection. My art isn't meant to give answers; it's meant to open a mirror. Because my work is non-representational, there is no "correct" way to interpret it. When viewers look at the convergence and divergence of lines and marks, they are encouraged to confront their own internal landscapes. In that disarray, they try to comprehend meaning, and in doing so, they connect with their own subconscious. Question: Please tell us about the themes explored in these works. Answer: The idea I have tried to explore here is presented in a very narrative way, but through contemporary abstraction, where what you see is not a literal representation of the outside world. Instead, it is an interaction with what exists within our minds the conflicts and dualities that shape us. Today, technology is so advanced that if you want to paint exactly what you see with your eyes, there are beautiful cameras that can do that. So, why not use a camera if you simply want to capture a beautiful landscape or a person? For me, art is about something deeper. It is about how we interact with the world and how that interaction produces emotions and influences our subconscious. That is what I try to paint. In one of the works, there is a woman who is caught in a dual relationship. One aspect is her inner world, while a man standing behind her represents another dimension of her interaction with the outside world. At the same time, she has her own mind and is drawn towards the sculptures lying below. That creates a conflict between different aspects of her inner and outer reality. In another painting, you see a man wearing a mask, surrounded by street dogs. The street dogs represent the outside world – how society observes, judges and talks about us, particularly in the context of the streets at night. But the man has his own perspective, which he does not want to reveal. There is also a woman wearing a mask, adding another layer to this idea of concealment and perception. Then there is another painting depicting a forest. When people are stressed or emotionally overwhelmed, they often tend to turn inward and seek solace in nature, greenery and forests. In this painting, there are three figures. One appears to be searching while also feeling lost; another does not want to confront the outside world and instead finds inspiration in a box; and the third figure is deep in the forest, seemingly lost. Each of these paintings has its own meaning, emotions and inner world. When there is confusion, the smaller paintings you see on the panels represent the crisscrossing conflicts and tensions within the brain and mind, the moments when we are unsure of what we are feeling or thinking. That confusion eventually emerges on paper through circles, squares, lines and zigzags. Gradually, a meaning begins to emerge. However, what I believe is important is that viewers should find their own meaning in the paintings as they look at them. If everything in a painting is very clear and depicted literally, then it is essentially feeding the viewer a predetermined idea. That, for me, is not what real art should be. Art is deeply personal and subjective, and what you take from a painting depends on your state of mind at the moment you experience it. You will also see paintings featuring spiritual women, Shakti and energy, where different forms of the goddess are explored. There is another series featuring mazes, representing how we can feel lost whether we are trying to get out or trying to find our way in. Butterflies represent freedom within this series. There is also a painting featuring blue circles floating on what appears to be the sea. It is a dreamy work that represents the passages of life as we float through them. The figures in these works have no clothes because they represent detachment from external norms and expectations. They are simply trying to be themselves. As they float through the deep world of their own dreams, they move forward as if they have no control over where they are going. The circle represents life and karma. Question: Your work has crossed borders, with exhibitions in Delhi, Toulouse in France, and Cambridge in the United States. How has the response from international audiences influenced your artistic perspective? Answer: Art speaks a universal language, especially abstraction. Whether someone is standing in a gallery in Delhi, France or the United States, the human psyche shares common threads: vulnerability, hidden desires and the search for meaning amidst chaos. Question: For those who are just discovering Sadhu Tree and your portfolio, what is the core message or feeling you hope they take away after experiencing your art? Answer: I want them to give themselves permission to feel and question. We live in a world that constantly demands clarity, order and neat definitions. Through my art, I want to invite viewers to embrace the disarray, look past their own outer personas, and find comfort in the beautiful and complex symphony of their inner realities. #SadhnaGupta | #SadhuTree | #PsychologyAndArt | #AbstractArt | #ContemporaryArt | #IndianArtist | #DelhiArtist | #UNI

uniindianews's tweet photo. Exclusive Interview: Sadhna Gupta on Psychology, Abstraction, and the Inner Canvas

From decoding the human mind as a psychologist to translating complex psychological landscapes onto canvas, Delhi-based artist Sadhna Gupta explores the unseen dimensions of human existence. Working under the creative handle Sadhu Tree, her work bridges the gap between psychological insight and fine art.

In this exclusive interview, Gupta discusses her transition from psychology to abstract art, her creative process, the relationship between the conscious and subconscious mind, and the hidden narratives that define her internationally exhibited works.

Question: Your background is quite unique, having transitioned from a career in psychology to becoming an internationally exhibited visual artist. How did your journey into the world of non-representational abstraction begin?

Answer: My transition wasn't a sudden departure from psychology; rather, it was a natural evolution of the same fundamental curiosity. In my first career as a psychologist, I spent years listening to what people didn't say. I realised early on that we all present ourselves very differently on the outside compared to the turbulent and rich inner worlds we inhabit.

When words or traditional narratives fall short of capturing those complex layers, art steps in. I am self-taught, which actually gave me the freedom to bypass traditional rules and dive straight into non-representational abstraction. I believe our inner realms don't necessarily relate to real-life shapes or forms; they relate to energy, emotion, and unspoken truths.

Question: You often describe your work as an exploration of hidden narratives and the human psyche. When you stand before a blank canvas, how do those psychological insights translate into oils, acrylics, or charcoal?

Answer: It starts with a feeling of excavation. People construct elaborate personas to navigate the outer world, but beneath those masks lies a deeply intricate narrative. When I paint, I try to bring those hidden thoughts, moods, and desires to the surface.

Sometimes, those narratives are structured, almost like a story waiting to be told. But at other times, there is a sense of chaos and disarray, and that's where things become truly interesting. When a conventional narrative dissolves, the canvas becomes a dynamic interplay of lines, planes, and dots of colour. They converge and diverge, creating an orchestrated symphony.

Question: That idea of an "orchestrated symphony" emerging from disarray is fascinating. How do you want viewers to interact with that chaos? Do you want them to decode a specific message, or is it more about their own reflection?

Answer: It is entirely about their own reflection. My art isn't meant to give answers; it's meant to open a mirror. Because my work is non-representational, there is no "correct" way to interpret it.

When viewers look at the convergence and divergence of lines and marks, they are encouraged to confront their own internal landscapes. In that disarray, they try to comprehend meaning, and in doing so, they connect with their own subconscious.

Question: Please tell us about the themes explored in these works.

Answer: The idea I have tried to explore here is presented in a very narrative way, but through contemporary abstraction, where what you see is not a literal representation of the outside world. Instead, it is an interaction with what exists within our minds the conflicts and dualities that shape us.

Today, technology is so advanced that if you want to paint exactly what you see with your eyes, there are beautiful cameras that can do that. So, why not use a camera if you simply want to capture a beautiful landscape or a person? For me, art is about something deeper. It is about how we interact with the world and how that interaction produces emotions and influences our subconscious. That is what I try to paint.

In one of the works, there is a woman who is caught in a dual relationship. One aspect is her inner world, while a man standing behind her represents another dimension of her interaction with the outside world. At the same time, she has her own mind and is drawn towards the sculptures lying below. That creates a conflict between different aspects of her inner and outer reality.

In another painting, you see a man wearing a mask, surrounded by street dogs. The street dogs represent the outside world – how society observes, judges and talks about us, particularly in the context of the streets at night. But the man has his own perspective, which he does not want to reveal. There is also a woman wearing a mask, adding another layer to this idea of concealment and perception.

Then there is another painting depicting a forest. When people are stressed or emotionally overwhelmed, they often tend to turn inward and seek solace in nature, greenery and forests. In this painting, there are three figures. One appears to be searching while also feeling lost; another does not want to confront the outside world and instead finds inspiration in a box; and the third figure is deep in the forest, seemingly lost.

Each of these paintings has its own meaning, emotions and inner world. When there is confusion, the smaller paintings you see on the panels represent the crisscrossing conflicts and tensions within the brain and mind, the moments when we are unsure of what we are feeling or thinking. That confusion eventually emerges on paper through circles, squares, lines and zigzags. Gradually, a meaning begins to emerge.

However, what I believe is important is that viewers should find their own meaning in the paintings as they look at them.

If everything in a painting is very clear and depicted literally, then it is essentially feeding the viewer a predetermined idea. That, for me, is not what real art should be. Art is deeply personal and subjective, and what you take from a painting depends on your state of mind at the moment you experience it.

You will also see paintings featuring spiritual women, Shakti and energy, where different forms of the goddess are explored. There is another series featuring mazes, representing how we can feel lost whether we are trying to get out or trying to find our way in. Butterflies represent freedom within this series.

There is also a painting featuring blue circles floating on what appears to be the sea. It is a dreamy work that represents the passages of life as we float through them.

The figures in these works have no clothes because they represent detachment from external norms and expectations. They are simply trying to be themselves. As they float through the deep world of their own dreams, they move forward as if they have no control over where they are going. The circle represents life and karma.

Question: Your work has crossed borders, with exhibitions in Delhi, Toulouse in France, and Cambridge in the United States. How has the response from international audiences influenced your artistic perspective?

Answer: Art speaks a universal language, especially abstraction. Whether someone is standing in a gallery in Delhi, France or the United States, the human psyche shares common threads: vulnerability, hidden desires and the search for meaning amidst chaos.

Question: For those who are just discovering Sadhu Tree and your portfolio, what is the core message or feeling you hope they take away after experiencing your art?

Answer: I want them to give themselves permission to feel and question. We live in a world that constantly demands clarity, order and neat definitions.

Through my art, I want to invite viewers to embrace the disarray, look past their own outer personas, and find comfort in the beautiful and complex symphony of their inner realities.

#SadhnaGupta | #SadhuTree | #PsychologyAndArt | #AbstractArt | #ContemporaryArt | #IndianArtist | #DelhiArtist | #UNI

941

High_Shivam retweeted

2 months ago

High_Shivam retweeted

SHAMSHER SINGH

@ShamsherSLive

2 months ago

पत्रकारिता का अगला भविष्य छोटे शहरों और हाइपर लोकल रिपोर्टर्स के पास: शमशेर सिंह @e4mtweets @samachar4media https://t.co/YYVvnB2iIQ

High_Shivam retweeted

Rajesh Kumar Kshitij @rajeshkshitij

2 months ago

High_Shivam retweeted

2 months ago

#Ranchi - Agitating students agree to hold discussion with Jharkhand govt, Demands video recording of the meeting #Jharkhand #BreakingNews #StudentProtest #Talk

rajeshkshitij's tweet photo. #Ranchi - Agitating students agree to hold discussion with Jharkhand govt, Demands video recording of the meeting
#Jharkhand #BreakingNews #StudentProtest #Talk https://t.co/MdCFMBoDrZ

2 months ago

@gateposts_ आनंद लीजिए सर

2 months ago

@ShamsherSLive जय हो

3 months ago · Delhi

दिल्ली के जंतर-मंतर समेत देशभर में NEET पेपर लीक विरोध प्रदर्शन पर सुप्रीम कोर्ट का बड़ा आदेश। जिन छात्रों पर पहले से कोई आपराधिक मामला दर्ज नहीं है, उन्हें पुलिस हिरासत और गिरफ्ता��ी से त��रंत रिहा करने के निर्देश। #Delhi #NEET #NEETProtest #SupremeCourt

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3 months ago · Delhi

जनपथ मेट्रो स्टेशन के प्रवेश द्वार अब यात्रियों के लिए खोल दिए गए हैं। @OfficialDMRC #DelhiMetro | #DMRC #JanpathMetro #Janpath #Delhi #MetroUpdate

High_Shivam's tweet photo. जनपथ मेट्रो स्टेशन के प्रवेश द्वार अब यात्रियों के लिए खोल दिए गए हैं।

@OfficialDMRC #DelhiMetro | #DMRC #JanpathMetro #Janpath #Delhi #MetroUpdate https://t.co/u1k9TE0Epp

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