For nearly six decades, Sarala’s Art Centre has stood as a quiet yet powerful presence in Chennai’s cultural landscape. What began as a pioneering gallery in 1965 has grown into one of the country’s respected spaces for modern and contemporary art. Across three generations of the Daruwala family, the gallery has witnessed the evolution of the Indian art scene: from a time when art collecting was rare to today’s thriving and competitive art market.
One of my classmate contacted me once and said she had a painting and wanted advice on selling it. When she sent pictures of the front and back of the painting, I realised it had been purchased from my grandmother in the 1980s. That was quite specialAnahita Daruwala Banerjee,
The story began in 1965 when Soli J Daruwala and Moti Daruwala made a bold decision to leave Mumbai and move to Madras with their young daughter Sarala. At a time when the Indian art world was largely centred in Mumbai and Delhi, they established one of the first professional galleries in South India dedicated to modern art. It was more than a business venture; it was an act of cultural vision.
Today, Sarala’s Art Centre continues that legacy. The third generation of the family, Anahita Daruwala Banerjee, who has taken over the reins from her mother Sarala, reflects on how the gallery has evolved with the times and how the art ecosystem itself has transformed.
“I grew up in this gallery. I was surrounded by art and artists and I learned about art directly from them. I’ve seen how the art scene has changed over the years,” Anahita says.
When her grandparents founded the gallery in the mid-1960s, the idea of an art market in India was still in its early stages. Collecting art was not as common as it is today. “The art market was not fully developed in the 1960s or 70s. It really started growing in the 1990s, when people began to buy art not just for appreciation but also as an investment,” she explains.
Over the decades, the gallery has witnessed several shifts, from its early years of nurturing artists and collectors to the art world’s growing commercialisation. Technology has brought the most significant transformation in recent years. “Earlier, you had to meet clients and collectors personally. Now, the internet and social media have changed how galleries function. Online exhibitions and selling art through e-commerce platforms are things that didn’t exist before.”
At the same time, the digital age has made the art world far more competitive. “Today, there are thousands of galleries across the country. People have realised the value of art, which is not just about beauty but also an investment. The market is booming, but there is also a lot more competition,” Anahita says.
Despite these changes, Sarala’s Art Centre has remained rooted in its core philosophy: nurturing art through long-term relationships with artists and collectors. Over the years, the gallery has been a witness to countless stories. Anahita recalls one memorable moment that revealed the depth of the gallery’s legacy. “A classmate contacted me once and said she had a painting and wanted advice on selling it. When she sent pictures of the front and back of the painting, I realised it had been purchased from my grandmother in the 1980s. That was quite special,” she smiles.
For Anahita, one of the most rewarding aspects of running a gallery is simply being surrounded by creativity. “Seeing beauty around you every day is one of the happiest parts of this work. You see artists creating, you see colours and ideas coming together and you get to understand the philosophy behind their work.”
Curating exhibitions is another part of the process she enjoys deeply. “When we organise an exhibition, we think about a concept and how to present it meaningfully. People don’t just come to see artworks; they also want context and interpretation. Sometimes art can be explained and sometimes it simply needs to be experienced.” Running a gallery, however, also comes with its share of challenges. From maintaining artworks to managing staff and staying relevant in a constantly evolving art market, the work extends far beyond the exhibition space. “You train staff, but sometimes they move on because there are many opportunities in the art world now. Then there’s the responsibility of managing inventory, making sure paintings are clean, safely stored and not damaged. Older works sometimes require restoration and handling art carefully is very important.”
Another challenge lies in the curatorial choices a gallery must make. “You always have to decide what kind of art you want to show. Do you exhibit works that will sell easily, or do you take risks and present something new that might take time for audiences to appreciate?”
For Sarala’s Art Centre, supporting emerging talent has always been an important part of its identity. “We have always tried to move forward by discovering new generations of artists. We want to open up the market and give as many artists as possible an opportunity. But that also comes with risks.”
To celebrate this long journey, the gallery has organised an exhibition, titled Garden of Memories I, at Lalit Kala Akademi. The exhibition brings together works from multiple generations of artists associated with the gallery, including painters, sculptors and printmakers whose practices reflect the diverse artistic language that has emerged from the Madras art scene and beyond. “Garden of Memories is not only a celebration of time. It is also an acknowledgement of the countless artists, collectors, students, writers and friends who have shaped the journey of the gallery,” she concludes. The exhibition is on until March 14.
Sarala’s Art Centre