The Collector’s Gaze: Udit Bhambri on the evolution of the Indian art scene and on collecting pieces that are ‘meant to be’

My journey into collecting began when I was just eight years old. Unlike most children who begged their parents for toys, I asked for paintings. I would visit galleries every Sunday, sketching what I saw and hoping to meet the artists. I even carried a book, asking artists to not only sign their names but also draw something for me. Many found this amusing, but they obliged, and today, that book is one of my most treasured possessions.

At the time, India’s art market was still in its infancy. There were no major auction houses like Christie’s or Sotheby’s operating in the country, and contemporary art galleries were scarce. The only way to see many artworks at once was to attend pre-auction exhibitions. My parents initially collected Indian modern art—Indian painters like Ram Kumar, KK Hebbar and Prabhakar Barwe—but over time, they came to trust my instincts and partly give into my stubbornness, letting me take the lead in selecting pieces. I vividly remember the first time I saw a work by Subodh Gupta at Art Basel in Switzerland in 2006. It was a massive sculpture resembling an airport luggage conveyor belt, stacked with bags and mangoes—an everyday scene in India yet transformed into something extraordinary through art. At the time, Gupta was not yet an international star but seeing an Indian artist’s work on such a stage filled me with pride. That moment ignited my passion for contemporary art, and today, my collection is a delightful mix of older material and contemporary art.

Read more: The Collector’s Gaze: Chinese fashion entrepreneur Jenny Kim on tapping into your intuition and the joys of living with art

For me, art is not something to be locked away in storage or displayed only on special occasions—it is meant to be lived with. Recently, I moved into a new home, a space that challenges traditional notions of art display. There are no pristine white walls, no rigidly curated rooms. Instead, the environment is designed to make art feel natural, approachable and integrated into daily life. I love the idea of artworks displayed together irrespective of art world trends or market value. I want to live with experiences and memories, and not merely “greatest hits” at that moment in time. A great work of art does not become greater because of its price—it is great because of what it makes you feel. Whether it’s a contemporary installation or a century-old painting, my philosophy remains the same: let the art speak for itself.

If I had to name a guilty pleasure, it would be the joy of acquiring a piece before it becomes widely recognised. There is something special about discovering an artist early, forming a connection with their work and living with it before the rest of the world catches on.

Arpita Singh has consistently been my favourite artist for nearly 30 years. In 2020, I finally acquired a small sketch by her—something I had dreamt of since childhood. Since then, I’ve collected [a deep and wide range of ] her work. Today, she is gaining more international recognition, with exhibitions at the Serpentine Galleries [in London], [Spain’s] Guggenheim Bilbao and the Centre Pompidou [in Paris]. While I feel a sense of pride in seeing her work appreciated on a global scale, I also cherish the quieter moments of simply enjoying her art in a smaller gallery or within the intimacy of my own space.

For me, collecting has always been about the artists, not about myself. I dislike exhibitions titled that signify [them to be the artist’s own] collection because they shift the focus away from the art. However, if an exhibition explores the relationship between collector and artist—how dialogue and patronage shape artistic careers—that’s something I would consider. It is also important to engage with a wider audience who may not be able to live with this art; and for the art to be seen and engaged with publicly. I am intrigued and interested in doing this in ways that do not put me at the centre of it.

I believe that great works eventually find their way to the right homes. There have been times when I lost out on a piece, only to encounter it again years later. If a piece is meant to be part of my collection, it will come back to me. At the same time, I’ve learnt to let go. If a piece isn’t meant to be mine, I wish it well and move on.

Looking ahead, my priority is not just acquiring more art, but deepening my connection with the works I already own. I want to continue supporting artists, fostering meaningful conversations and ensuring that my collection remains a living, breathing entity—not just a static archive of objects.  

This is part of a series created in collaboration with Art Basel Hong Kong

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