Against the serene hills and monsoon-kissed skies of Meghalaya’s capital, the third edition of the ASEAN-India Artists’ Camp (AIAC) unfolded as a celebration of cultural convergence and creativity.

With 21 artists representing ASEAN member states, Timor-Leste and India, the 10-day camp transformed Heritage Hotel Tripura Castle in Shillong into a living studio of colours, stories and shared inspirations. Organised by the ministry of external affairs (MEA), government of India, in collaboration with Seher, the AIAC has emerged as a significant cultural bridge under India’s Act East Policy.

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This year’s edition brought together a fascinating spectrum of artistic traditions from Southeast Asia — from printmaking in Vietnam to surrealism from Malaysia, and intricate traditional techniques from Myanmar and Brunei.

Artists from ASEAN nations infused their canvases with both personal styles and local inspiration. Chong Ai Chzer of Thailand employed acrylic and gold leaf to reflect the philosophical calmness of Buddhist art traditions. Cambodian artist Norak Ros, a multidisciplinary creator, merged sculpture, painting and graphic design to interpret Shillong’s colonial charm through a modern lens.

Vietnam’s Xuan Tinh Vu showcased detailed printmaking, a medium rooted deeply in Vietnamese artistic heritage. Brunei’s Rashidah Binti HJ Yusof impressed many with her intricate architectural drawings, which offered a minimalist yet powerful commentary on space and structure. From Laos, Phonesith Yernsensuly explored acrylic’s possibilities, capturing the vibrancy of hill life and indigenous motifs.

For the Philippines, sculptural artist Lou Bernadette Miguel Lim created a fusion of form and emotion, while Indonesia’s Vincent Albert Samoel brought an interdisciplinary flavor that blended installation, painting and storytelling.

Traditional forms held their ground too — Nwe Ni Soe from Myanmar paid homage to classical Burmese painting styles, rich in symbolism and spiritual undertones.

Timor-Leste’s Abilio da Conceição Silva, another multidisciplinary talent, blended folklore with modern expression, drawing attention to a younger nation’s search for cultural articulation.

Minister of state for external affairs and textiles, Pabitra Margherita, who addressed the camp’s closing ceremony, emphasised the event’s diplomatic and emotional significance: “This camp shows the strong cultural and artistic links between India and ASEAN nations. Art has real power — it connects people. Through this effort, we’re strengthening ties that matter.”

Sanjeev Bhargava, founder-director of Seher, said “As the one who dreamed up this camp, I’ve watched it evolve into something extraordinary. Over ten days, these artists dove into Shillong’s culture, challenged each other’s ideas and produced works that pulse with life.”

With the Shillong exhibition now concluded, the artworks will travel to New Delhi and Malaysia, continuing their journey of dialogue and diplomacy.

For the ASEAN artists, the camp wasn’t just a showcase — it was a confluence of spirit, technique and cultural memory. They return with new perspectives, creative friendships and stories that transcend borders, proving once again that art is the most eloquent form of international engagement.