‘I have seen many talented artists getting lost in oblivion, especially those who belong to the periphery and not the mainstream society. I want to seal those cracks from where such people can easily slip through’, says Mumbai-based artist Siddharth Somaiya.

Somaiya, whose work focuses on accessibility and community engagement, has designed the public artwork ‘Life Vest Under Our Seat’ installed at Worli Sea Face in Mumbai. The work is a tribute to Mumbai’s Koli fishing community.

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In an interaction with The Statesman, the award-winning artist talks about Immerse Fellowship, a pioneering initiative dedicated to empowering emerging Indian artists and curators.

“In today’s Indian art landscape, young and emerging artists face a number of systemic challenges, from steep exhibition fees to high gallery commissions. These barriers are especially acute for artists from underrepresented regions or remote areas, resulting in incredible talent often going unseen and unheard,” he says.

Immerse is an artist-first initiative envisioned and co-created by Somaiya with Natasha Jeyasingh, Al-Qawi Nanavati, and Shaleen Wadhwana, and hosted at Somaiya Vidyavihar University, Maharashtra. Since its inception in 2021, the fellowship has supported over 50 artists from more than 30 cities across India.

“Under Immerse, we provide fully-funded studio space, travel and accommodation assistance, mentorship by experienced curators and artists and most importantly, 100 per cent of the proceeds from the artwork go directly to the artists.

“The fellowship was conceived during the lockdown driven by a vision to bridge the gap for underrepresented voices in the art world. They realized that emerging artists, especially those from marginalized backgrounds, face significant challenges in gaining access to platforms that allow them to showcase their talent,” Somaiya notes.

So how does he choose the artists for the fellowship?

“We put out a call for applications, and only consider select artists who have graduated up to five years ago. This is because during the first five years of one’s career, if one does not get support, he may stop practising art, and take up odd jobs like a waiter or accountant. I have seen this happen in front of my eyes,” he rues.

Immerse has its own list of successful past fellows like Thamshangpha ‘Merci’ Maku, Umesh Singh, Jayeeta Chatterjee, Satyanarayana Gavara, among others.

This year’s Immerse 4.0 with the theme “Sach Kahe To” (to tell the truth) explores overlooked truths like a fisherman numbing his body before diving or a partition survivor tracing the ache of a lost home, through installations, sound, textiles, and mixed media, says the artist.

“Too often, art is uprooted from its own context, and made to conform, to translate. IMMERSE aims to shift that. It is a reclamation of voice, space, and origin, a place where young artists, especially from underrepresented geographies, can speak about themselves on their own terms. We aim to nurture emerging talent from across the country and bring fresh, vital perspectives into the centre of the conversation,” he adds.

Talking about the key aspects of the novel initiative, Somaiya says the objective of the programme is to bring the city to the outskirts.

“It is like reciprocal learning. We teach the selected artists about pricing, how to talk about one’s work or write artist statements, or even royalties. I believe artists are communicating life through their paintings, and art is the outcome of the life that they experience. So I do not look at art as a goal.

“Immerse is a platform where artists from regions like Assam, Nagaland, Odisha, West Bengal, Haryana, Sawantwadi, Karnataka are given the space and tools to thrive, helping them overcome traditional barriers,” he adds.

The Mumbai artist also recalls the deep conversations and the deeper art of his fellows.

“I remember we met this artist named Satya, who often painted rice. So I asked him why rice was the recurrent theme of his paintings. He told me that his father was a landless farmer and the feeling he had while growing up was that of hunger. He told me he still had that feeling despite becoming a successful artist.

“Then we had another artist who is the son of a labourer in Karnataka. He predominantly showcased homes in his artwork because his mother’s dream was to own a house. So these are real stories of people defying odds to become artists,” he says.

Somaiya also emphasized on bringing in an artist-first ecosystem. He says it is crucial to have ecosystem support, adding that artists should learn how to value their work, their practice, and also have the capacity to create patronage.