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N K P Muthukoya

N K P Muthukoya
N K P Muthukoya

2 Aug 2025

A Voice of Stillness and Symbolism in Contemporary Indian Art

In the ever-evolving landscape of Indian contemporary art, NKP Muthukoya stands as a quiet yet profound voice — one that blends modernism with a deeply personal cultural narrative. Known for his striking, surrealistic portraits and symbolic use of form, Muthukoya’s work delves into the complexities of human identity, memory, and displacement.

Hailing from the Lakshadweep Islands and later rooted in Kerala, Muthukoya’s artistic journey is one shaped by movement — geographical, emotional, and spiritual. Trained at the prestigious JJ School of Art in Mumbai during the 1970s, he emerged as part of a generation of artists who were redefining Indian art beyond traditional norms, incorporating bold experimentation and individualistic voices.

Muthukoya is best known for his enigmatic portraits — often faceless, deeply introspective, and rendered with a symbolic abstraction that invites the viewer into layered narratives. The muted earth tones, the recurring use of closed eyes or indistinct faces, and the interplay of light and shadow create a haunting, poetic presence. His figures are not defined by physicality, but by the emotional and psychological spaces they inhabit.

At the core of Muthukoya’s work lies the exploration of isolation, migration, and cultural identity — themes that resonate across time and geographies. His art doesn’t seek to provide answers; instead, it evokes reflection. There's a stillness in his canvases, almost meditative, yet charged with unspoken depth.

With several solo and group exhibitions in India and abroad, Muthukoya continues to influence and inspire a younger generation of artists. His contribution to Indian art is not only aesthetic but philosophical — urging viewers to look inward and engage with the quiet truths of existence.

At Inkroot Studio, we are honoured to spotlight NKP Muthukoya — an artist whose work transcends trends and speaks directly to the soul.



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