Samsara: The Cylce of Life, is a performance collaboration between the performance artist Sejal S Sood and the installation artist Daniel Wurtzel. The artist highlights the phases of creation in three stages. The first phase is that of innocent exploration of the unknown nascent stage, where form is a distant thought. Rhythm ignites the second phase of discovery and intensity, where energy is fierce and all encompassing. The latent chaos of creation gives way to the final blissful realization of life, creating an unfathomable synchronicity between what is known and what exists, and that which is unknown and predestined for all living forms- the end. An end that is not final as the cycle continues.



Using repetitive  movement as a starting point for this series of oils on canvas, Sejal reflects on the concept of disappearing into meditative space while rooted in reality.

In these  visceral works the artist explores three concepts: reflection through repetition; freedom through repetition; and becoming one with the space… hence Reflective Echoes. The repetition  (of the spinning dance move) gives her the knowledge, the comfort and the confidence to repeat over and over again the same movement, much like all in nature. That deep meditative space is where her artworks of dancers caught in ‘a moment in time’ spring from; movements that are sometimes blurry and at others sharp… but all echoing the dance of creation.

Her focus essentially is on the repetition of a movement, on surrendering to it, letting your body take over, and move without any conscious instruction. And the freedom that comes with this endless repetition.


This collection was the start of Sejal’s journey as a painter. Underlining the works is the essential elemental of Sejal ‘unlearning’ what she had learnt as a trained classical dance about the nature of dance itself. She decided to stop performing, instead turning her energies to restudying dance. Sejal discovered dance in her childhood and when in college received arts grants to research the evolution of Indian dance and that, she says, made her realize, “how little I knew about the origins of dance and that what we believed to be the origins of dance are very incorrect and contrived. The history of dance is very contrived. So I decided to stop performing until I understood dance and understood my body and how it wants to move and what its natural rhythm is. That took me on a whole new expedition: traveling, studying, observing, learning dance.  At first I got stuck on forms of dance like mohinatttam, bhartnatyam, flamenco  contemporary dance.”

But it soon became clear to Sejal that dance is a much larger language and there was much more to movement even when  you are sitting or walking down the street (That’s where the collections that followed Discovering Dance have stemmed from). But the initial discovery and research was  on realising ‘how large dance was’.  The realisation that every  form of dance has a flip side to it took root, “When you look at a dance form, a tradition you have to see its layers, understand them, see it from different angles. Each piece in this collection describes the full perspective of dance.”