Artists Statement

Mahek Pednekar (b. 2000, Mumbai, India) is a traditional artist whose practice is shaped by a deep engagement with historical techniques, material study, and the tradition of painting. She received her initial training at Rachana Sansad Academy of Fine Arts and Crafts in Mumbai, where she developed a strong foundation in drawing, painting, and printmaking. During this time, she cultivated an appreciation for the slow and deliberate process of creating by hand, grounding her practice in observation, patience, and craftsmanship.

While developing as an artist, Pednekar began to reflect on the broader role of artists within the history of art. She felt that creating new work alone did not fully satisfy her sense of responsibility toward the art world. This realisation led her to pursue a parallel path: not only to create art, but also to help preserve the works that have shaped artistic traditions across centuries.

Motivated by this conviction, Pednekar moved to Florence, Italy to pursue her studies at Marist University and Lorenzo de' Medici Institute. She graduated in 2024 with a BS in Art Conservation, a BA in Art History, and a Bachelor of Fine Arts. During her studies she specialised in fresco restoration, gaining practical experience working on conservation sites while studying the materials and techniques used by the Old Masters. Alongside this work, she continued developing her artistic practice through the study of traditional painting methods. Through this experience, she developed a deeper understanding of how paintings are constructed, how they age, and how careful intervention can allow them to endure for generations.

Pednekar's artistic practice continues to draw inspiration from the richness of Renaissance colour and structure, as well as the emotional intensity of the Baroque, particularly the work of Artemisia Gentileschi. Her paintings explore light, shadow, and narrative through traditional techniques while also extending into digital media as a contemporary expansion of her visual language.

Now based in India, Pednekar continues to develop these two parallel paths: creating works of her own while remaining deeply engaged with the preservation of art from the past. For her, painting and conservation are not opposing practices but part of the same quiet dialogue with time. One that honours what has been created before, while allowing new stories to emerge.