Narendra Pal Singh

Exhibition Note :

The Sixth Element & the Art of Narendra Pal Singh by Sushma Bahl
Riotous colours in myriad blocks of images that seem to play a game of hide and seek mark much of Narendra Pal Singh’s current art-scape that draws the viewer in with its visual appeal while also engaging his/her mind to unravel the underlying mystery that calls for an evocation of the sixth sense. The artist whose creativity has traversed from a fun filled narrative figuration of the 90’s to a different scripture and philosophy inspired paintings at the turn of the century and his current engagement with an assimilation of an abstract oeuvre with its minimalist narrative layering has also ventured into video/film genre encompassing a varied terrain and offering an interesting overview of his artistic struggle and the journey to-date.

Born in Konandpur village in rural Bihar , the rustic lad had a carefree and joyous childhood playing around with friends in open green fields, swimming in the local stream and partaking of the community festivities not just as an observer but also an active player including as an actor in the annual Ramlila performances. It was a simple life lived to the full under the loving care of his parents, an older brother and 3 sisters. The trigger for the young boy’s fascination for art seems to have come from his father’s love for music and his mother’s talent in sujni, kantha and applique work that he watched her make. Though good at studies he preferred to draw in his school note books, and paint on walls, floor or whatever he could lay his hands on, readily accepting the thrashing that followed for doing so, by his teachers at school and the brother at home.
The family’s insistence for him to take up what was then considered a more respectable and lucrative course in engineering as a profession finally got defeated when he managed to gain admission to the art college at Patna after three unsuccessful attempts. Once on the right track of his choice there has been no looking back for the artist who enjoyed his 3 years of studying and playing around with art- in colour and form, managing to sell his first painting while still at college in the late 80’s.
Given the limited opportunity for creative art work in his home state of Bihar , the artist moved to greener pastures in Delhi after finishing his studies at the art college, to earn a living for himself and his family. However he has stayed strongly rooted and connected with his family and village that continue to vibrate and run through his art. Visiting there frequently, he makes sure to be there for the Dusshera and Holi festivities when his folk wait to see him perform on the stage every year.
Just as a building stands on its foundations and a tree can’t bloom without its roots, my ‘Sanskar’ and inspiration is in my village and I am nothing without that- declares the artist, whose wife and two young children continue to live in the village, drawing him back to his roots every now and then.

Art track:
The painter-actor-poet-artist’s rendezvous with creativity took off on a delightful figurative track. The rustic performative experiences that the multi talented story teller artist featured in his early work were full of fun and satire. The playfulness in his work during this phase perhaps stems from his interest and experience in acting and singing. There is a replay of memories and incidents of fun filled village life in work including carts, arranged marriages, the arrival of TV, and people on the streets or sitting on bus roofs, the animals in local zoo as well as the sun, the moon and the fields that appeared in his initial work in group shows at Patna and Delhi.
Narendra’s first solo in Delhi entitled ‘La Dolce Vita’ was the result of his encounter with Federico Fellini films that were brought to his attention by his friend and well known Hindi art critic Vinod Bhardwaj. In a subsequent series ‘Kaleidoscope’ which included work following a visit to America in 95/6 the artist featured western society, its people and scenes against a mixed background treated with a rural Indian touch and a colourful humour. A steady flow of work with a new sense of pun fun and story-telling in his subsequent series that evolved further as reflected in his creative pouring that met with immediate success in exhibitions titled ‘Unending Tales’, ‘Colours of Being’, ‘The Clown’, ‘Looking Glass’ and ‘The Quintessential Nayika’ series, that featured society and life in myriad subtle hues. The work of this phase not only reflected the artist’s perceptiveness and confidence but also his painterly skills and a refinement in their execution.
Distinct for its dynamic quality, Narendra’s work on handmade paper and canvas of this period stands marked for its bright colours, bold figuration, universal sense of humour and rooted narration in finely balanced compositions. This steady flow of art however underwent a drastic change as a formless imagery began to overtake the mind frame of the restless artist in search of a change. Beginning with ‘Drishtikon’, his work tuned into a different aesthetic zone, as he took to penning poetry in haikus. The poetic tone also gets mirrored in his abstract expressions of the time that the thinking painter felt instantly at home with. This was the first point of departure when the artist’s oeuvre began to shift its focus towards a pronounced philosophical leaning and abstraction, moving away from figuration. It was a moment of self discovery that the artist describes as my arrival when I could say more with less. The transformation an experiment for self discovery was a bold move on part of the artist and somewhat against the tide, coming at a time when his regaling pop-art like narrative work was already a hit with collectors and critics alike.
The artist’s mastery comes forth in his replay of old stories in a current context that touch an instant chord in one’s mind besides looking good to the eye. I try to link past with present says the artist whose renderings of the epic story of battles for power and supremacy between Kauravas and Pandavas include some amazing work. The incident of disrobing of Draupadi where the courtiers including blinded father figure Dhritrashtra are shown looking the other way instead of raising their voice to prevent the shameful act, bring to mind scenes of today’s selfish society and its people blinded by their self serving drive as victims are allowed to die by the road side whilst heavy traffic continues to pass by unmindfully in the city.
In his ‘Panchtatva’ series the artist uses his brush to voice his concern against the exploitation of environment all around. The vandalism resulting from consumerist ethos of malls and tall buildings, the artist laments destroys nature, disturbs life cycle and threatens cultural values with plastic, construction material and filth all around. The resulting degradation of water, air, fire, earth, sky- the five essential elements of life is featured in the artist’s work in the suite awash with myriad coloured canvases much of which appears in planar constructions with clearly marked sections or blocks. Starting with philosophical ideas the artist takes off to a world of fantasy in abstraction. There are renderings that feature the changing of seasons and its impact on life.
This theme and his engagement with nature and its bounties, the wildlife and environment that nourish us continues to run through the ‘Sixth Element’ series of paintings in acrylic on paper and canvas in the current show. This close association and continued concern for nature seems but natural given that Narendra spent his growing up years in the lap of nature. His expressions in the series focus on the need for conservation of natural resources and habitat for posterity. Whilst in ‘Palayan’ and ‘Choice’ he bemoans the shift from rural to urban and the shrinking forest space due to indiscriminate large scale construction activity that eats into the living and breathing space for man and animal alike, he also highlights the resulting loss of peace and quiet with cars inundating the roads and polluting the air, besides creating chaos seen in the metros. The picture in ‘We the people’ and ‘A Bird eye view’ renderings where man and animal are seen to jostle for space with cars just to pass through, makes a telling narrative on the impact of consumerist ethos and human greed that leads to shrinking resources with no space or scope for habitation and natural growth or conservation. Wildlife and save the tiger campaigns that have remained on the agenda mainly for high brow coffee table discussions rather than any pro-active deeds to save the animal, are focused in ‘1411’ while the issue also makes an appearance in his other works such as ‘Mounting’.
The series also includes ‘Srishti-2′ and ‘Sidhivinayak’ that offer mankind some solace whilst the colourful geometric forms of his work such as ‘Nakshatra’, ‘Navgrah’ and ‘Shiva’ in a tantric mode seem to evoke the sixth sense as they take the mind off to another level of a meditative trance away from the surrounding chaos, tragedy and greed. In its ideology the works meander around mythology, Indian Puranas and Vedic epics including Mahabharata, iconography of Lord Shiva, Krishna and other spiritual leaders and birth-life-death cycle that he has learnt about and imbibed since childhood. There is also an under-current of sexuality and sensuality in his use of female symbols and tantric forms in the imagery such as ‘Nakshatra-7′ and ‘Srishti-5′. A closer look at the recurring image of a triangle in work such as ‘Sudarshan’ that he says is not a mere geometric form but a symbol of man-woman relationship and the cycle of life brings alive a different set of sensuous connotations. There is an abundant play of planetary signs sun, moon, astrology and palmistry reflecting man’s inner turmoil in his fight against indiscriminate exploitation of nature and machines for material wealth.

Method & material:
For Narendra painting is a sacred act. The forms and imagery, palette and colours, markings and renderings and the composition and texture are all equally important elements in his art whether it is in figuration or abstract style. The incorporation of a variety of renditions, experiences, ideas and philosophies that Prayag Shukla describes as ‘vividhita’ is another distinct feature of the artist’s work. The initial trigger comes from an idea. The central motif is mulled over mentally before it is sketched or in most cases painted directly with brush onto the canvas or paper with detailed working that follows over the rest of the space. There is a liberal penetration of myriad colours in three or more coats applied with brush, roller and knife etc.
In his fine line work there is a play of light and shade alternating between dark and soft palette with faint renderings of undefined shapes emerging through his canvas that he adds for a ‘visual impact’. Equally comfortable in drawing and painting in charcoal and water colours as well as acrylic and oils, the artist works on special handmade paper as well as canvas often using mixed media for a special effect. There are elaborate decorative patterns of textiles, embroideries and applique work with birds, fish and plants that he has seen his own mother and other village women make, lovingly laboring in the bright sun light during the day and dim flickering lamp light at night.
There is a clear impact of folk forms and culture in the stone effect or rug like look and appearance in some of his work. The cross over between ‘my rural simplicity and joyous upbringing counter balances the vibrancy of metro culture that I live in now without its underbelly pulling me down’, claims the artist, whose canvases are broken into clear divisions and segments each with its own contained nuance, texture and colours.
The artist’s newest work in film/video art is a personal journey that continues to engage his mind. Moved by the tragic loss of his mother whom he adored and loved the artist took to the universal language of films taking forward his fascination with the medium that began several years ago reflected as cinematic motifs in his earlier painterly work. Rotating around the triptych of birth life death as a cycle, the film is interlaced with a fine mix of myth and reality, rural Bihar milieu with a broader sensitivity, drawing from the West as well Vedas. The philosophical under-pinnings are balanced against a reality check. The five elements are seen against the wheel of time. Life starting with bathing and worship at sunrise, the ritual around death, donations and Kali offerings, pyre aflame and finally nirvana, are all featured in the film as an act of devotion while at the same time questioning the blindness of faith amongst the masses.
The artist describes his shift from figuration to abstraction and now to film as an inner urge ‘to look deeper within and not confine myself to fun filled art which is considered easier to handle though in fact it is not’. His narratives are bonded to the roots and inspired by innocence and simplicity of rural life. Reflections of this can be seen in his Nayikas or Srishti, Drishtikone and Panchtattva series. The changes in his perspective and work have come about gradually in a mix of spontaneity and meditated plan and are ‘not driven by market trends or fashions’. He finds the change ‘liberating’ freeing him and his viewers from the confines of a given story, thereby enabling each to take and interpret the abstracted maze to mean differently as transcended through each one’s mind’s eye.

Note: The quotes in the text are from the writer’s conversations with the artist. (Sushma K Bahl, MBE is an independent arts consultant, writer and curator)

There are no full circles in art. Even when an artist seemingly returns to the point from which he had started, it does not signify a circle because in the meantime the point has shifted and the artist himself has changed. Narendra Pal Singh’s present work broadly falls in two categories: figurative works that harken back to his work of the mid-1990’s such as Kaleidoscope and Unending Tales, and abstract works that are in a way an extension of the Panchtatva Series that he had shown in 2006. And yet, a lot has changed in the meantime.
In the figurative works of the mid-1990’s, his obvious reference point was the Bihar rural environment in which he had grown up even though by then he had been living in the city of Delhi for several years. There was a quality of nostalgia and an earthy rawness about those works. The present figurative works show that he has come to terms with the urban environment. This of course, does not mean that he has come to accept the insanity of the urban life. In fact, in a broad sense these works are a critique of the way urbanization in the name of progress is destroying the very habitat in which human beings live.
Narendra has chosen two symbols of this madness, the ubiquitous car that is multiplying like locusts and the tiger that is fast becoming extinct and is soon likely to meet the fate of the dodo. Man’s obsession with the car and its other variants is nothing short of a desire to commit mass hara-kiri. The developed countries have learnt this lesson and have, therefore, shifted to more efficient means of mass transportation systems. But in countries like India , this symbol of status and progress continues to eat up the trees, gobble up the pavements and devour the land for building roads that is badly needed for producing food-grains. In three paintings, We The People – 1, We The People – 2 and A Bird’s Eye View, Narendra makes a sharp comment on this phenomenon.
In We The People – 1, a well-dressed man is shown carrying a car on his head because there is no space left on the road to drive it and yet he must have a car. Lest such a visual comment should look too obvious, Narendra paints a cow and a dog in the foreground and two crows on the upper part of the canvas, one sitting on a falling signal post and the other desperately flying away. Of course, the car has taken away the living space not only from the human beings but also from other forms of life such as cows and birds. The tone of the entire painting including the use of strong blue is not one of gentle satire but blunt ridicule. The laughter is deliberately missing.
We The People – 2 is more subtle with a range of complex meanings. The road is choked with cars. On a closer look we find an old man lost in this crowd of vehicles. He is wearing an elegant kurta and dhoti with an impressive turban on his head which indicate that he must be a man of some substance in his village. Here in the urban jungle he is completely lost. Narendra painstakingly paints a bewildered look on his face. The rural urban migration is a well-known story of underdevelopment in countries like India . In this painting Narendra depicts the pathos of this tragedy.
The change in Narendra’s oeuvre is not merely in the subject matter, there is a marked change in the artistic methods that he employs. His draftsmanship that creates the figures is much more mature and detailed. He is still fond of bright colours as is evident in We The People – 1 but he is equally at ease with more complex colour harmonies as is evident in We The People – 2. Altogether, his figurative works show a more confident command over line, colour and organization of space.
This becomes evident when he deals with issues like the disappearing tiger. Artists are usually afraid of making a direct comment on social or political reality. Narendra is not afraid of doing so because after all the health of the tiger in the wild is an indicator of the health of wilderness itself which is our original habitat. Besides, the number of tigers is not declining because of natural causes. All causes for the decimation of tiger are man-made, man who in a way controls the destiny of our planet and therefore, sits in judgement over other life forms. Soon enough the tiger in India will become extinct as the dodo had become extinct in Mauritius in the late 17th century. This is clearly suggested by Narendra in the two paintings, The Last Judgement – 1 and 2. Both these paintings are significant not only for what they say but also for their composition and the quality of images that they present.
The second set of paintings that can be broadly described as Nakshatra Series, seem to emanate from a different vein of Narendra’s mind, the one that had earlier taken him to explore myths and panchtatva. The panchtatva, of course are the five elements – fire, air, water, space and earth – that create everything in nature and perhaps in the universe. Does Art exist in nature? Does technology exist in nature? Beauty does exist in nature but art, like technology, is a creation of the human mind. Mind thus becomes the Sixth Element in nature because mind itself is a creation of nature.
In these set of paintings Narendra seems to visually explore a world which is not part of our immediate experience and which I hesitate to call metaphysical. After all what is metaphysical? Quite often, metaphysical is something which we cannot immediately comprehend with our rational faculties. The phenomenon of Nakshatra which is both astronomical and astrological, in fact, the whole celestial world is one such phenomenon. There are millions of galaxies and within each galaxy there are millions of stars or objects like earth. Human being is a little spec on a tiny little planet called earth. This is what makes us seek the succor of the metaphysical.
In the Nakshatra Series, Narendra provides us a glimpse of these celestial forms. The visual experience leaves us with a sense of wonder and as was pointed out by G.K. Chestorton, – one of the responsibilities of an artist is to keep awake the sense of wonder in the world’. These paintings also show some of the most subtle and complex colour harmonies created by Narendra as can be seen in works like Resonance, Shiva-Shakti, Gajanan and Nakshatra – 5 and 6. Some of the paintings have been given specific titles by the artist such as Krishna – 1 and 2 or The Blue God – 1 and 2, perhaps because of the blue colour and the suggestion of the plumage. The titles do not limit the meaning of these paintings because Krishna can be both a child god and Virat god. He can indulge in Leela and yet be the diplomatic Sutradhar of Mahabharata. Conceptually his manifestations and meanings are limitless. Made on acrylic on paper with a very rich texture, these two Krishna paintings are some of the most profound works in this series.
Ilya Ehrenburg, the famous Russian writer once remarked, ‘There is no progress in art’. This might be true in some twisted kind of a way but as far as Narendra Pal’s present work is concerned, it shows a definite progress as compared to his work of the 1990’s, both in terms of his craft and his vision which now seems to be responding at a deeper level to his immediate urban environment as also to the wider celestial world of which our earth is a small but hopefully an essential part.

K. Bikram Singh
(Writer,Art Critic & Film maker) New Delhi

Birth: 1963, Bihar

1993-94 – Chief Co-Ordinator Visual Art for North Central Zone – Cultural Centre (N.C.Z.C.C.), Allahabad
1994-97 – Chief Co-Ordinator Visual Art Navodaya Vidyalaya Samiti, New Delhi
– Member of Panel for judging All India Poster
– Competition by Literacy Mission, New Delhi
– Member of Panel for judging All India Painting
– Exhibition by Cameline, New Delhi

2005 – 5th Northern Region Award for Acrylic Painting (Professional Category by Cameline,) New Delhi.
1998 – All India Drawings, All India Fine Arts and Cultural Society (AIFACS), New Delhi
1996 – Chicago Artist International Programme Award conferred by Chicago Government, USA
1995-97 – Junior Fellowship by the Department of Culture Government of India
1992-93 – Research grant for Painting by Lalit Kala Akademi (Indian Akademi for Arts), New Delhi
1992 – Bihar Shree by Bihar Young Journalists Association for Painting, Patna, Bihar

2010 – ‘Escape’ music & Arts event by POTHEADS at the Lake Resort, Naukuchiatal, Uttarakhand
2009 – All India Painters Camp by ITM(Institute of Technology and Management), Gwalior, (M.P)
2006 – Ram Kinkar Baij birth anniversary 2007 by L.K.A, Bhubneshwar.
2006 – Artists camp at BUDDHA Mahotsav, Bodhgaya by Ministry of Culture, Bihar.
2005 – BICE Painters Camp, New Delhi.
2000 – All India Painters Camp at Pathrad, M.P.
1999 – All India Painters Camp by Kalavrat Nyas, Ujjain, M.P.
1998 – Painter & Sculptors Camp, Surajkund, Faridabad by N.Z.C.C. and Department of Tourism, Government of Haryana, Chandigarh.
1997 – All India Painters Camp at Kud by J & K State Cultural Academy.
1993 – All India Painters Camp at Mayo College, Ajmer, Rajasthan by Gallery Ganesha.
1993 – All India Painters Camp at Chennai Museum by East Zone Cultural Centre.
1992 – All India Painters Camp at National Academy of Administration, Mussoorie by North Central Zone Cultural Centre, Allahabad.
1991 – All India Multi-media Artists Camp at Patni Top by T.C.C.A., J & K.

One Man Shows:
2010 – Kyungsung University Art gallery, Busan, South Korea.
2006 – ‘Panchtattva’, Gallerie Alternatives, Gurgaon.
2006 – ‘Panchtattva’, Shridharani Gallery, New Delhi by Gallerie Alternatives.
2005 – ‘Ek Po Aur Ganga’, the Festival of India at Guastalla, Italy
2004 – ‘Drishtikon’, painting exhibition at Gallerie Alternatives, Gurgaon
2003 – ‘Looking Glass’ Centre for Excellence, Jamshedpur, (sponsored by Tata Steel)
2002 – ‘The Quintessential Nayika’ at Montjaic Hall, Hospitalet, Barcelona, Spain
2002 – ‘The Quintessential Nayika’ at The Tagore Center, Embassy of India, Berlin, Germany
2001 – ‘Looking Glass’, Shridharani Gallery sponsored by Kumar Gallery
2000 – ‘Colours of Being’, sponsored by Kumar Gallery, New Delhi
2000 – ‘The Clown’, l Am Gallery, New Delhi
1999 – ‘Colours of Being’, Shridharani Gallery
1998 – Exhibition at Jehangir Art Gallery, Mumbai
1997 – ‘Unending Tales’, Gallery Espace, New Delhi
1996 – ‘Kaliedoscope’, Sanskriti Art Gallery, Kolkatta
1996 – Circa Art Gallery, Chicago, USA
1995 – ‘LA DOLCE VITA’, sponsored by Gallery Espace, New Delhi
1993 – ‘The Clown’, exhibition at Gallery Espace, New Delhi
1992 – Exhibition at Gallery Ganesha, New Delhi
1992 – Exhibition at Jagat Centre for Art & Culture, Patna sponsored by ITC, Calcutta
1990-91 – Exhibitions at Shridharani Art Gallery, New Delhi
1989 – Exhibition at Gandhi Sanghralaya Museum, Patna.

Major Participations & Group Shows:
2010 – Contemporary Painting Exhibition by 9 artists from India and Korea At Kyungsung Art Centre, Busan, South Korea.
2009 – ‘Collective Intent -IV’ at Visual Art gallery,India Habitat Centre presented by Gallerie Alternatives
2008 – Art Summit at Pargati Maidan New Delhi presented by Gallerie Alternatives,
2007 – ‘Collective Intent -III’ at Visual Art gallery, India Habitat Centre presented by Gallerie Alternatives
2001 – Organized by India Habitat Centre for Gujarat Victims.
2000 – ‘Viewing Points’ at Shridharani Gallery, New Delhi.
1996 – All India Biennale by Bharat Bhawan, Bhopal, M.P.
1995,97 – All India Painting Exhibition by AIFACS, New Delhi.
1992 – All India Drawing Exhibition by AIFACS, New Delhi.

Many other participations : in India and abroad:
2009 – Panel Discussion on Modern Art by Lalit Kala Academy at College of Art & Crafts Patna, Bihar

Narendra Pal Singh features in the collections of:

Yamaki Art Gallery, Busan South Korea
Kyungsung central university, Busan, South Korea
Yamaki Art Gallery, Tokyo, Japan
ITM (Institute of Technology And Management), Gwalior(M.P)
National Gallery of Modern Art, New Delhi
Mahatma Gandhi Hindi Vishwavidyalaya, New Delhi
Lalit Kala Academy, New Delhi, Lucknow, Bhuvaneshwar & Chennai
North Central Zone Cultural Centre, Allahabad
East Zone Cultural Centre, Chennai
Jagat Centre for Art and Culture, Patna
ITC, Kolkatta
Tata Steel, Jamshedpur
Pepsi, New Delhi
Indo Asian, New Delhi
Mayo College, Ajmer
American Information Centre, New Delhi
Ashiana Builders, Patna
Photo Maker, Patna
CRY, New Delhi
Dreamscapes, New Delhi
DAMA Association, London, U.K.

Midori yamamoto, Kyoto, Japan
Prof. Lee/ Prof. Ina Busan, South Korea
Esabella , Gostalla, Italy
Harry S. Anand, New York
Emilia A. Puma, Washington D.C.
John Rohlfinz, Washington D.C.
Linda E. Morse, Washington D.C.
Dr. Ambuj, Florida, U.S.A.
Moura A Sabin , New York
Nandini Ashish, New Jersey
Rose Mary Romano, U.S.A.
Jishnu Das, Washington D.C.
Hena Valed, U.S.A.
Morsorie Harrison, U.S.A.
Trine Ditlevsen, Norway
Anil & Asha Dikshit, Singapore
Virendra Mittal, Barcelona, Spain
Dr. Gurdeep Singh, Berlin, Germany
Gabriella Tavernese, Rome, Italy
Also with some collectors in Italy, Canada & Mauritius

Mr. Hafeez Contractor, Mumbai
Dr. Mahesh Chandra, New Delhi
Dr. A. N. Singh (Deputy MD, Tata Steel)
Mr. K. Bikram Singh (Film Director / Writer)
Mr. Mumtaz Ali, Madanapalli,
Mr. Ebrahim Alkazie (The Art Heritage)
Ms. Shakti Sharma (Tata Steel)
Ms. Anamika Sharma (Tata Steel)
Mr. Deepak Datwani (J.B. Exports)
Mr. Rahul Kohli (Fly By Night)
Mr. Chetan & Manya Seth (Chemon Estate)
Mr. Anil Tandon (Tex Cop Ltd.)
Mr. Viki Nayar (Matrix)
Mrs. Renu Modi (Gallery Espace)
Mrs. Shobha Bhatia (Gallery Ganesha)
Mr. Virendra Kumar Jain (Kumar Gallery)
Mrs. Poonam Kalra (1am Gallery)
Mrs. Ambika Berry (Sanskriti Art Gallery)
Mrs. Krishna Chandan (Gallery Krishna Collections)
Mr. Nanu Pammnami (Chairman, Citibank)
Mr. Om Thanvi (Editor, Jansatta)
Mrs. Manu Dosaj (Gallerie Alternatives)
Mr. Prayag Shukla (Editor, Rang Prasang)
Mr. Vivek/Bella Mahendru, New Delhi
Mr. Gaurang Singhania, New Delhi
Mr. Vivek Dhir, New Delhi
Mr. Sharad & Veena Chaturvedi, New Delhi
Mr. Vinod Bhardwaj, (Art & Film Critic), New Delhi
Mrs. Gagan Singh, New Delhi
Mr. Rana Yashwant Singh (Producer, AAJ TAK)
Mrs. Subodh/ Sonal, New Delhi
Mrs. Anuradha Shrinivasan, New Delhi

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