A review of the opening reception of On Pyaar with Palace Cinema Art Collective
Art that feels like coming home.
On a warm Thursday evening in May, I took the thrumming Northern Line with my colleagues to Kentish Town, to the opening night of On Pyaar, a group show staged by Palace Cinema Art Collective.
On Pyaar is the third group exhibition organised by a collective of artists based in a historic former cinema, shared with Camden Council and supported by Hypha Studios, an organisation that actively seeks to connect artists with vacant spaces.
The result of this collaboration? A tender group show housed in an unconventional location; an exhibition that also offers a rare opportunity to step inside the private studios of the artists behind the work.
'On Pyaar' is Hindi for 'On Love' and as soon as I walked through the doors past brightly painted walls and into the exhibition space, I was struck by the gentle intimacy of the works on show. There is a pervading sense of amity, of personal rituals and family traditions, illustrated with care, from a diverse array of cultures.
The exhibition becomes evocative of a lived-in space, with every visitor an active participant in the show. We become kindred spirits to the artists, engaged in familial acts of care and acknowledgment.
A luminous orange painting by Kajal Mistry overlooks the table; in Fruit Knife, 2025, hands are rendered in pared-back style, peeling an apple which in contrast is painted in rich and red brushstrokes flecked with yellow and white. It reminds me of the non-finito style popularised in the Renaissance, portraying the contrast between paint and canvas. With her glossy apple, Mistry illustrates how the physical act of preparing food is sometimes forgotten, but equally as important as the final result.
A large painting by Tania Ali portrays a similarly important facet, that domestic work is often undertaken by the women of the family, their unseen labour forming the backbone of essential care-work. The strength of women as a force is palpable in the artist's painting, I will always be a daughter, 2024. A mother and daughter are shown preparing dolma, an intricate patterned rug rises up behind them, acting as a backdrop to the scene — two generations, joined in one act.
Some of the works are small in scale; postcards by graphic designer Ivy Hong are hazy and dream-like, like the world seen through a child's eyes.
Halfway through the opening reception as we sip freshly popped prosecco, poet Rushil Pandey begins to perform a spoken-word piece.
He doesn't introduce himself but instead begins to move through the space, projecting his voice, until gradually we all fall into silence.
Pandey's poetry is immersive and sensory, drawing each one of us in, before ending on his own personal nostalgia, memories of his mother's rasoi. The final lines pull us back to the present room. The poet disappears as quickly as he arrived, and soon all the surrounding voices return to a happy buzz.
A doorway leads to a second darkened room. I follow the instructions to remove my shoes and once again, I'm touched by the exhibition's offering of vulnerability paired with traditional practices. A series of films depict women and people from around the world, of urban and rural scenes, that are close and far away. Women describe their lives and responsibilities, how life can be so different for each person, depending on societal expectations.
Do you resist these expectations or embrace them? The exhibition illustrates that you can hold all of these experiences within you at one time, constantly shape-shifting and weaving your own tapestry.
It is fitting then that a textile piece by Sudeshna Saxena hangs in this room, a maker who specialises in handloom weaving.
On Pyaar causes me to consider my own personal memories and experiences of love — when my mum knew I was having a stressful time at work, so she made my favourite meal. I wonder how often she provided for me at the expense of her own time and energy, how she still does to this day, even though we live apart.
I think about how during the opening reception, I spent a lot of time talking and laughing with old and new friends, discussing childhood memories, families, and pets who are gone but not forgotten.
My conclusion is a simple one.
Small acts of kindness, from family and friends, can turn a bad day into a good one.
When I went to On Pyaar , it was a very good day.
The exhibition On Pyaar was curated by Sara David, Kajal Mistry and Aishwarya Sanchety.
On Pyaar featured the work of the following artists:
Tania Ali @taniaali.art
Osman Bari @ozmiumbarium
Claryn Chong @claryn.chong
Sara David @saradavid_art
Farheen Fatima @farheenay
Ivy Hong @ivy.design.hsw
Rie Koizumi @rie_koizumi
Kajal Mistry @kajalmistry__studio
Rehan Mudannayake @rehanmudannayake
Aishwarya Sanchety @theelsewherearchives
Sudeshna Saxena @sudeshnasaxena
Aashna Singh @aashnaaashna
Rushil Pandey rushilpandey_art
On Pyaar was supported by Hypha Studios and Civic Action Lab.
Palace Cinema Art Collective will continue to present exhibitions, workshops and open studio events - check out their Instagram to stay in the know.
Photography : Andrea Amato
Charlotte Hampshaw is your friendly neighbourhood writer with a special focus on art and exhibitions. She is a lover of animals and a future ghost.
You can follow her on Instagram @cha_char_realsmooth