Roopantar 47A showcased a vivid array of colors – red, white, and black – that brought to life the traditional art forms of the Waaghri community. The central focus was the mother goddess, around whom every ritual and celebration revolved.

The exhibition vividly illustrated how the Waaghri community's artistic expression had evolved over the past 50 years. Once textiles encircled the temple; now, they adorned walls, becoming prominent features of drawing-room art. Each element of the exhibition springs to life, as if leaping from the ritual cloth of the Mata ni Pacchedi. Furniture trays take on the role of "vaahan," bridging the gap between the divine and the earthly. Artists, unaware of each other's work, coincidentally synchronize colors, resulting in a harmonious blend of glass and Pacchedi's hues.

Sanjay Chitara, a mata-ni-pachedi artist, played a pivotal role in this transformation. The curator highlighted how different materials had been reimagined – wood transformed into furniture, waste paper into papier-mâché sculptures, and broken glass into new forms under the artist's skillful touch. Gautam Bhatia's work, a series of small frames, showcased a miniature artist's commissioned work, providing a glimpse into the evolving narrative.
 

The "Deep Stambh" stood tall as a symbolic representation of the exhibit's essence, transcending its metal origins to become a spatial object, emphasizing the boundless potential within artistic expression. Henry worked with women in the lower Himalayas, breathing life into yak wool, crafting charming toys. Alberto, a mosaic artist, added a touch of mosaic magic to the exhibit.

Roopantar 47A invited visitors on a transformative journey through time, where tradition and innovation intertwined. It captured the spirit of the Waaghri community as they honored their heritage while embracing the ever-changing world of art.