Young Singapore Artist Returns to Salon des Artistes Français
“The Girl Who Paints Her Soul” (2026), graphite self-portrait by Aaradhya Sunder, exhibited at Art Capital Paris, Salon des Artistes Français.
"The Eye of Nature" – A surrealist masterpiece by 11-year-old Aaradhya, showcased at Art Capital Paris 2025, Salon des Artistes Français.
Return to Art Capital Paris Highlights Structured Formation, Jury Validation, and Professional Gallery Presentation
Following her jury-led selection in 2025, Aaradhya returns in 2026 to Art Capital Paris within the historic Salon des Artistes Français, founded in 1667. The Salon — long associated with figures such as Auguste Rodin and Édouard Manet — remains one of Europe’s most formally structured exhibition platforms, operating through institutional review rather than market-driven visibility.
Her 2025 painting, The Eye of Tomorrow (also referred to as The Eye of Nature), received a written evaluation from Alain Bazard, President of the Painting, Drawing, Digital Art and Tapestry Sections of the Salon. Bazard described the work as demonstrating “a particularly acute awareness of the future of the Earth,” noting its compositional coherence, symbolic construction, and rare maturity for her age.
The assessment was analytical rather than celebratory — situating the work within a symbolic and surrealist tendency, a classification seldom attributed to artists at this stage of development.
During the four-day exhibition at the Grand Palais Éphémère, which featured more than 3,000 artists from over forty countries, Aaradhya was formally acknowledged by Bruno Madelaine, President of Art Capital Paris. Her name appeared in the official catalogue and on the exhibition walls — markers of inclusion within the Salon’s documented institutional record.
In 2026, she returns with a new graphite self-portrait, The Girl Who Paints Her Soul. Moving from environmental allegory toward interior inquiry, the drawing emphasizes structural balance, restraint, and psychological presence. The progression suggests disciplined evolution rather than stylistic repetition.
In Paris, her participation is presented by Galerie Linda Farrell, positioning her within a professional curatorial framework aligned with European gallery practice.
Aaradhya’s artistic formation has developed under sustained mentorship at Little Artists Art Studio in Singapore — her principal art school — recognized for structured technical training and conceptual rigor. Her broader educational pathway includes structured academic engagement connected to the Nanyang Academy of Fine Arts (NAFA), Singapore’s oldest arts institution.
Her work has also appeared in institutional contexts including the National Gallery Singapore’s Children’s Biennale (2025–2026) and an international juried exhibition in Beijing.
For European observers, the relevance lies less in youth itself and more in how youth is framed. Her trajectory reflects institutional validation grounded in evaluation rather than novelty, and continuity rather than acceleration.
In a continent that understands the long arc of artistic formation, sustained development often speaks more clearly than early acclaim.
Anuraag Sunder
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