As Vice President of the ICCR, Adwaita Gadanayak intertwines his artistry with spirituality, drawing inspiration from his rich cultural heritage and the temple rituals of his upbringing. Despite challenges such as limited sponsorship opportunities, he perseveres creating significant sculptures, including those honoring national figures. Adwaita Gadanayak fosters collaboration among artists to revive the Odia culture and emphasizes the importance of hard work and dedication in art.

Adwaita Gadanayak, Vice President of the Indian Council for Cultural Relations (ICCR), is renowned not only for his captivating sculptural art but also for his profound connection to spirituality and heritage. He is associated with the National Gallery of Modern Art (NGMA) as its DG, and has a deep reverence towards stones. Adwaita Gadanayak views stones as ancient entities that hold deep knowledge about humanity. He aspires to merge with stones and connect with the divine, believing that stones communicate with us and evoke significant spiritual vibrations.

Hailing from the village Neulapoi in the Dhenkanal district in Odisha, Adwaita Gadanayak says he comes from a village situated between two contrasting belief systems—one that embraces a belief in ‘sakaar’ and another that does not. He draws inspiration from the diverse art styles that flourish in Odisha. In his region, many villages are renowned for their craftsmanship in creating statues and figurines of deities. While he always had a passion for art, he eventually recognized its potential as an educational medium, which guided him through his studies at the Delhi College of Art.

Adwaita Gadanayak believes that stone, being one of the oldest materials on earth, carries a profound history that influences his artistic perspective. Adwaita Gadanayak draws compelling comparisons between his sculptures and revered places of worship. He reflects on the communities’ devotion at the Western Wall in Jerusalem also known as the Wailing Wall, the circling of the Kaaba at Mecca, and the large gathering at the ‘Garuda Stambha’ in Jagannath Puri, all expressing a profound connection to the sacred through artistic expressions.

Growing up near Bhubaneswar, often referred to as the City of Temples, Adwaita Gadanayak was immersed in a culture rich in temple rituals and craftsmanship. His father's devotion to spirituality greatly influenced him, leading him to explore the intersection of art and spiritual experiences.

His role model is Balbir Singh Katt, a professor at BHU, with whom he worked in quarries. Katt was a pioneer in creating large- sized sculptures and monumental works.

Adwaita Gadanayak engaged in dialogue with temples, worked with soil, and created idols. He was unaware of formal art education until he undertook extensive study about art. He learned about Shantiniketan, an esteemed art college established by Guruji Rabindranath Tagore, and noted that Britishers also founded art colleges, including the JJ School of Art in Lahore. Recognizing London as the world capital of art, he pursued further education there, mastering various techniques. He received a Commonwealth Fellowship and was committed to working with the government.

Adopting a global perspective, he decided to pursue this field and eventually became Director General (DG) of the NGMA. He was the first artist to hold this position and interacted with the government to develop the art sector. He says while India has a rich tradition in art, contemporary art is different. To merge both, he established an "Art Adda" and emphasized the need for creating a strong art culture.

Adwaita Gadanayak also discusses the importance of cultivating 'rasiks,' someone who is a connoisseur or appreciative critic of art, music, or literature. Just as music requires training, he believes that visual perception of art should also be developed through training.

Adwaita Gadanayak elaborates on the sacred process of entering a temple, which he perceives as a form of art itself. The experience begins at the temple gate, where visitors undergo a filtering journey that prepares them to meet the divine. He highlights specific areas such as the ‘sabha mandap’, which serves to cleanse the body, and the ‘natya mandap’, designed for spiritual songs and dialogue with the deity. He captures the essence of being fully immersed in art and spirituality with this ritual approach.

Adwaita Gadanayak takes personal responsibility in his designs, carefully selecting the stones that will bring his visions to life. He has facilities to transport stone from Telangana to anywhere in India, including the stone used for the statue of Subhas Chandra Bose established at the India Gate in New Delhi.

A guiding principle that resonates with Adwaita Gadanayak is a phrase from Odisha, which suggests that a person’s life holds true meaning only when they contribute to society. This ethos propels him to immerse himself in his craft, forging a deep connection between his artwork and the collective human experience.

Though he faced challenges along his artistic journey, such as limited sponsorship opportunities in Odisha, his experiences in Mumbai and Delhi, where he received sponsorships—including support from the Piramal Group for his gallery—allowed him to expand his artistic horizons. He emphasizes the importance of managing budgets while also expressing the need for more government support for artists in Odisha.

Gadanayak acknowledges that, to encourage growth in the arts, the government has initiated conferences bringing together artists to discuss the necessary advancements in the field. Despite Odisha's rich heritage, contemporary art faces both challenges and opportunities that Adwaita Gadanayak is keen to address. He actively fosters a network among artists and organized a collaborative workshop in Chandigarh that included traditional, miniature, travel, and contemporary artists, as well as musicians and theater practitioners.

Adwaita Gadanayak highlights the historical migration of Odias to regions like Sri Lanka and East Asia, where they have managed to preserve their artistic traditions. Even the Japanese acknowledge having learned from Odisha. He believes in the power of art to revive and promote the Odia culture across India and views young artists as vital contributors to this mission. He also notes that becoming a sculptor requires strength.

Among his significant achievements are the Contemporary Sculpture at the National Police Memorial, the 200-ton stone carving for the Dandi March project in Rajghat, and a statue of Subhas Chandra Bose at the India Gate. As he collaborates with Guru Jasraj, crafting sculptures inspired by verses from the Bhagavad Gita, Adwaita Gadanayak cultivates a deep connection between his art and spirituality, cherishing the experiences they create. While working on the statue of Subhas Bose, he decided on black granite to reflect Bose's strength and leadership, as he envisioned Bose standing like a rock.

Adwaita Gadanayak notes that if we explain to the new generation how masterpieces like Konark or Ajanta-Ellora were created, they might respond with indifference, given the changes in building architecture and theater. On that note, he says balancing old and new is essential. Adwaita Gadanayak also highlights how people talk more about the commercialization of art and not the true essence of paintings and sculptures. He believes it is the artist's responsibility to address these evolving needs while fostering peace.

He also stresses the importance of creating a supportive and peaceful environment at art exhibitions, where friendly interactions and open atmospheres enable the public to engage fully with art. Adwaita Gadanayak appreciates the relationship between the artist and the stone, asserting that once one merges spiritually with the stone, it begins to guide the creative process.

He highlights the spiritual properties of stone, noting that many villagers regard stones as sacred and bow in reverence before them. Over time, the stone transcends its material nature. He also references how sages would meditate on stones, illustrating their deep spiritual significance.

Adwaita Gadanayak acknowledges the ongoing experimentation within the art world, drawing on a century's worth of artistic innovation. He asserts that sculptors play a crucial role in energizing society and cites historical figures like Swami Vivekananda and Subhas Chandra Bose, believing that art holds the potential to spark movements that can be revered for generations. He envisions a future where India can reshape its artistic landscape on a global scale within the next decade or two.

Adwaita Gadanayak has recognized that art education is vital for progress. He actively participates in workshops that foster collaboration among artists, musicians, and theater practitioners, reinforcing the idea that art must evolve to meet the changing demands of society. His goal is to revive the Odia culture through his work.

He believes that the essence of being a sculptor involves hard work and the fusion of physical, mental, and spiritual dimensions. Adwaita Gadanayak underscores that sculpture goes beyond mere likeness; it embodies the essence of its subject. Adwaita Gadanayak believes that while the new generation possesses the same potential for energy and determination, they must also cultivate a strong work ethic.

Discussing the art field further, Adwaita Gadanayak notes that an artist’s life is filled with ongoing struggles. He quotes, “If your struggles end, you are no longer an artist.” He explains that art is often sponsored by businessmen, as there are no government provisions for it. Adwaita Gadanayak highlights the challenges of sourcing stones and the financial aspects of pursuing art as a profession. He also mentions that artists must work within government budgets and cannot operate entirely according to their own preferences.

Adwaita Gadanayak also states that artists must adapt and continually refine their skills. He highlights the importance of creating an inviting atmosphere for art exhibitions, where the public can engage fully with the artworks. For Adwaita Gadanayak, the interaction between the artist and the material—particularly stone, which is regarded as a sacred entity in many cultures—is fundamental. He notes that sculptors, who have been experimenting for over 100 years, act like fathers to the art form, providing energy and inspiration to everyone involved.

His belief in the magnetic energy of stone resonates deeply with his artistic philosophy. He notes that meditation is often practiced near stones, emphasizing their significance in spiritual practices. Through his work, Adwaita Gadanayak aims to balance meaning, society, and individual expression. Drawing from a legacy of experimentation in art, he expresses hope for a future where art can spark historical movements and inspire generations to come.

For aspiring artists, Adwaita Gadanayak shares a message to embrace lessons, commit to hard work, and set clear goals. He encourages young artists to envision their contributions to society through their art. Furthermore, he highlights that the ICCR supports various artistic endeavors, welcoming those interested in exhibitions, music, theater, and more, fostering a vibrant artistic community.