Indian sculptor Niyamat Mehta’s bronze work Atman enters the secondary market through Bonhams, marking a global milestone.
Niyamat Mehta
Celebrated for her refined sculptural language, Niyamat Mehta represents a new generation of Indian artists gaining global recognition. Trained in Florence and influenced by both Indian philosophy and European art history, her work Atman has now entered the secondary market through Bonhams. Reflecting on this moment, Mehta notes that the platform brings the work before “serious collectors deeply engaged with art and its long-term value.” Anchored in bronze, Atman invites viewers into a quiet space of introspection and self-awareness.
The Conceptual Origins of Atman
Atman emerged from a period of inward listening. Rooted in the Indian understanding of ātman as the true self beyond roles and expectations, the sculpture reflects my ongoing inquiry into inner consciousness, stillness, and moral awareness. I’ve always felt a deep connection to horses - symbols of instinct, dignity, and quiet power - and that sensibility subtly informs my work. As someone who experiences life intuitively and deeply, I’m drawn to forms that hold restrained strength and contemplation. Atman is less about declaration and more about presence: a moment of self-recognition, held gently in form.
Why Bronze Became the Chosen Medium
Bronze felt instinctive for this work. Having spent a great deal of time in Europe, I’ve been deeply influenced by museums where some of the most celebrated sculptures in Western art history are cast in bronze. Encountering those works made me aware of the medium’s ability to carry time, weight, and presence. Beyond its technical demands, bronze has an inherent richness - it holds depth, warmth, and permanence - which felt essential for expressing an introspective, inward-looking theme like Atman.
Balancing Classical Foundations with Contemporary Emotion
Classical art is something I’ve absorbed over time - through observation, study, and lived exposure - and it forms a strong foundation in my practice. Contemporary emotion, on the other hand, comes more intuitively, through creativity and personal experience. When I’m sculpting, I consciously bring the two together. My latest collection is a good example: the horse and portrait forms are rooted in classical structure and proportion, while the textures, colours, and surface treatments are distinctly contemporary. That balance allows the work to feel both grounded and emotionally alive.
From Exhibition to Auction: Atman’s Evolving Journey
Atman’s journey takes an important turn at this stage. Having been exhibited in London, its entry into the secondary market through a platform like Bonhams an A-grade, highly prestigious institution in the art world, gives the work a different kind of visibility. It places the sculpture in front of a more seasoned audience: serious collectors who are deeply engaged with art and its long- term value. For me, this marks not just broader reach, but a meaningful shift in how the work is seen, contextualised, and collected.
Interpreting Atman Across Global Audiences
As an artist, I can only hope that Atman is received for what it truly is. While cultural contexts may differ, the emotional language of the work is rooted in introspection and self-awareness - experiences that are universal. If international audiences are able to pause, reflect, and form their own quiet connection with the sculpture, I feel the work has done its job.
Cultural Memory and Indian Influences in the Work
My Indian heritage surfaces in Atman through cultural memory rather than overt symbolism. Horses have long held an important place in Indian culture representing strength, spirit, and continuity - and I’ve always felt a personal connection to them. I enjoy incorporating elements of Indian culture into my work in subtle, intuitive ways, allowing tradition and personal memory to quietly inform the form rather than define it outright.
A Milestone Moment at a Prestigious Auction House
It honestly feels like a milestone I’m still digesting. To see Atman placed alongside modern and contemporary South Asian masters - artists like M.F. Husain, Raza, Tyeb Mehta, and Thota Vaikuntam is something I once only dreamed of. For this to happen through Bonhams makes it even more special. I couldn’t have asked for a more meaningful way to close the year.
Reflecting on Atman’s Place in Her Practice
I wouldn’t necessarily call it a turning point, because when I create a work, I’m not thinking about how far it might go commercially. That said, Atman does feel like it’s having its moment, and it has opened up new conversations around my sculptural practice. I’m simply looking forward to seeing how far the work can travel and how it continues to evolve from here.
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