top of page






2018 - 2019, London, United Kingdom

LCC, University of the Arts London

MA Design Management and Cultures


2013 - 2016, Mumbai, India

ASMSOC, NMIMS University

Bachelors in Business Administration

Physical Shows


  • Moo Point, Solo Show, Pulp Society, India, 2022


  • Juxtapose, x Kafe Cerrado, Delhi, India, 2023

  • Surface: Curated, Artbuzz Studios, Delhi, India, 2023

  • Mobocracy vs Democracy, Latitude 28 x The Upside Space, India 2023

  • Back of an Envelope, Edgeland Modern, UK, 2022

  • Art Mela, 105arts, India, 2022

  • Open House, Artbuzz Studios, Delhi, India, 2022

  • Emerging Reflections, Apparao Galleries, Chennai, India, 2022

  • No Dead Artists, Jonathan Ferrara Gallery, USA, 2021

  • Open Call: Emerging Artists, Gallery 78, Hyderabad, India, 2021

Virtual Shows 


  • b/w desire and reality, Terrain Art, Virtual Solo Show, India, 2022

  • Memoirs, Gallery Mui, Virtual Solo Show, USA, 2022


  • only drawing will remain,, India, 2023

  • Remedy, Cream Athens, Greece, 2022

  • Emergent Realities and the Fabrication of now, Vol 2, Contemporary Art Chronicle, USA, 2022

  • Stories I Tell Myself, Visionary Art Collective, USA, 2022

  • Back of an Envelope, Edgeland Modern and Blue Monkey Net, UK, 2022

  • Light of Day: Rejects Reconsidered, Lodger Art, USA, 2022

  • 2.22.22, The Purposeful Mayonnaise, USA, 2022

  • When Words Fail, Visionary Art Collective, USA, 2021 

  • Infinity, The Holy Art, London, UK, 2021

  • The Dreamers, The Holy Art, London, UK, 2021

  • Group Show, Shrine, New York, USA 2021

  • Dharohar, Keshav Art Foundation, India, 2021

  • Catharsis, Merakii Art House, India, 2021

  • Surface, ArtBuzz Studios India, India, 2020

  •, Harsimran Juneja’s Art Explores The Inner Conflict of the Human Experience

  • OptWest Magazine, Issue One, Cover Page and P16, 2022

  • Art Seen Magazine, Autumn 2022, p92-93, 2022

  • Orangepeel Magazine, Collage of Us: Part 1, p56, 2022

  • The Purposeful Mayo, Issue 6, 2022

  • The Fragmented Magazine, Issue:03 Motion, 2022

  • Architectural Digest India, Jan - Feb 2022 Edition, p56

  • Artdemic Open Call, Gujral Foundation, 2021

  • Art Connect Magazine, Artists to Watch: July 2021, Digital Magazine 

  • Contrarium Magazine, Issue II: Rage / Serenity, P.92, 2021 

  • Art Hole Magazine: 14, 2021

  • Boomer Magazine, The New Artist edition (p 131), Boomer Gallery, London, 2021 

  • Artist of the Week, Contemporary Art Chronicle, Feb 13 - 19, 2023

  • Artist of the Week, India Art Fair, October 2022

  • 3rd Prize, Notable Artist Award, Artbuzz Studios, India, 2022

  • Finalist Award, Open II, Art Show International, 2021

  • Honarary Mention, Splash, Drip, Throw; Visionary Art Collective, USA,  2022


Rothko stated that a painter’s progression in work, as it travels in time, will be towards clarity. Yet, as you work for a long time, you start to discover how little you know. Life, as we experience it, is full of complexities that create dichotomies - good or bad. My work investigates these dichotomies and particularly conflict in contexts that are personal, political, social or cultural. In uncovering, portraying or depicting some of these ideas, I am trying to draw attention towards ‘self in society’ to offer moments of self-reflection, opportunities to build new perceptions, and chances to reconsider simple questions.


Conflicts can be magnetic. They can lead us to experience certain emotions but its ability to pull us into a tar pit can refrain us from understanding the cause. In exploring conflicts, I am curious to understand the consequences of being forced into binary systems of this or that, us or them, right or wrong etc. And my works in the form of painting, drawing or text, often turn into statements and seldom propaganda whilst representing my observations. However, conflicts can be good or bad - and my practice is not restricted to either one. 


My works follow a visual language that is influenced by Neo-expressionism and primitivism, aiming to exist in the spaces between figurative and abstraction or narrative and abstraction. The texts in my works are akin to graffiti on the streets, they tag my paintings and also allow me to re-contextualise my visual subjects. Lately, my ideas have taken precedence over my visual outcomes, leading me to an exploration of conceptual art practice that also employs the use of found objects, combines, video and audio. 


A crucial aspect of being able to resolve conflict is the practice of looping - an exercise that enables better listening in a conversation to understand ones reasons better. In a larger context, I wonder if my works can be synonymous to looping, enabling audiences to inch closer towards resolution for their own conflicts. 

bottom of page