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Exhibitions
PADA Studios Gallery, 2026
Curated by Paula Ferreira, the group exhibition is a culmination of a two-month residency in Barreiro, Portugal on May 30th, 2026.
It leads you to reflect on circumstances that bring people together and, at times, bring about encounters. "What are the spaces where the negotiation between our expressions of individual freedoms and the demands of our social personas becomes more fluid, less restrictive? What affections are necessary for the creation of these very spaces? And, consequently, how might they be built? I recognise in these questions a path towards an ongoing search, and a learning process regarding artistic practice as a place of coexistence. Moving through the space, one encounters the delicate firmness of Medha Khosla’s manual gesture, which weaves 'Time Horizon' from the memory imbued in the discarded materials with which she works. In the artist’s diptych, the
interweaving of lines and materials gives rise to two chromatic planes, whose pictorial power is reflected in the small coloured fields that fill the wooden support."
Hand woven with a needle, using diverse industrial and coastal waste materials around PADA such as discarded plastic shipping bags, jute, cables and coastal materials like fishing rope from Goa, the woven panels seek to reveal a history of movement and resilience. The works were developed in studios that formerly operated as a jute factory within the old Companhia Union Fabril (CUF) Industrial Park in Barreiro, Portugal. The primary material being jute, a fiber historically cultivated in Bengal and imported to Portugal via colonial trade routes through Goa - the region where Khosla is based, still holds physical, spatial and cultural traces of its historical trajectory. By weaving jute with contemporary industrial and coastal waste, the works intend to hold these historical tensions in suspension - neither resolved nor erased, but made legible as form.
Through experimental engagement with discarded materials, the weavings resist stasis. Forms emerge, recede and return, keeping the works active and responsive to their immediate environment. This material instability is intentional. As jute warps against cables and plastic slips against fiber, the panels uncover obscured narratives of colonial circulation, labour and ecological extraction embedded within the grid. In doing so, 'Time Horizon' proposes new hybrid material systems - not as speculative design, but as urgent, tactile responses to the pressing need for repair and reuse in the context of climate change mitigation.
Time Horizon (2026)
Discarded jute fiber, plastic cables, deconstructed fishing rope, industrial plastic waste, plastic bag strips, found packing material handwoven around canvas.
W 14 " x H 18" x D 1"
It leads you to reflect on circumstances that bring people together and, at times, bring about encounters. "What are the spaces where the negotiation between our expressions of individual freedoms and the demands of our social personas becomes more fluid, less restrictive? What affections are necessary for the creation of these very spaces? And, consequently, how might they be built? I recognise in these questions a path towards an ongoing search, and a learning process regarding artistic practice as a place of coexistence. Moving through the space, one encounters the delicate firmness of Medha Khosla’s manual gesture, which weaves 'Time Horizon' from the memory imbued in the discarded materials with which she works. In the artist’s diptych, the
interweaving of lines and materials gives rise to two chromatic planes, whose pictorial power is reflected in the small coloured fields that fill the wooden support."
Hand woven with a needle, using diverse industrial and coastal waste materials around PADA such as discarded plastic shipping bags, jute, cables and coastal materials like fishing rope from Goa, the woven panels seek to reveal a history of movement and resilience. The works were developed in studios that formerly operated as a jute factory within the old Companhia Union Fabril (CUF) Industrial Park in Barreiro, Portugal. The primary material being jute, a fiber historically cultivated in Bengal and imported to Portugal via colonial trade routes through Goa - the region where Khosla is based, still holds physical, spatial and cultural traces of its historical trajectory. By weaving jute with contemporary industrial and coastal waste, the works intend to hold these historical tensions in suspension - neither resolved nor erased, but made legible as form.
Through experimental engagement with discarded materials, the weavings resist stasis. Forms emerge, recede and return, keeping the works active and responsive to their immediate environment. This material instability is intentional. As jute warps against cables and plastic slips against fiber, the panels uncover obscured narratives of colonial circulation, labour and ecological extraction embedded within the grid. In doing so, 'Time Horizon' proposes new hybrid material systems - not as speculative design, but as urgent, tactile responses to the pressing need for repair and reuse in the context of climate change mitigation.
Time Horizon (2026)
Discarded jute fiber, plastic cables, deconstructed fishing rope, industrial plastic waste, plastic bag strips, found packing material handwoven around canvas.
W 14 " x H 18" x D 1"
Goa Open Arts Festival, 2026
Goa Open Arts presents 'Linear Fragments', a series of 12 handwoven works by Medha Khosla in the group exhibition 'Threads Through Time: Textile Art from Goa' at the Goa Open Arts Festival from Feb 20th - 25th, 2026. Highlighting textile art from the region, this exhibition moves between archival histories and contemporary experimentation, revisiting Goa's lesser know textile traditions and viewing fiber as a sculptural and conceptual medium.
Through the 'Linear Fragments' series of works, Khosla seeks to question the objectification of waste materials, while investigating the intersection of materiality and the act of hand weaving – revealing a dynamic interplay between the two.
Discarded plastic bags cut into strips, coastal fishing ropes and nets, raffia as well as jute yarns extracted from jute sacks found in Goa are the primary elements of the textile works - each one laboriously unspooled, washed and rewoven with hand, adding texture, dimension and visual language to each of the works.
The exploration and examination of the discarded materials was the starting point in understanding their ability to transform beyond the ‘ordinary’ or ‘mundane’ and reconfiguring the waste into witness. Each panel is an assemblage of experimental weaving techniques and the power of deconstructed materials that form the warp and weft of each of the works. Using a simple needle, the untangled and frayed materials are transformed beyond their present reality as they interweave with each other into architectures of entanglement.
The Linear Fragments series of works reimagines discarded matter into intricate weaves inviting viewers to examine their personal interactions with materials and resources that are prevalent in our daily lives.
Linear Fragments (2025)
Discarded fishing rope, plastic bag strips, jute and nylon yarns extracted from discarded sacks handwoven around cotton canvas and handmade wooden frame looms.
H 8" x W 10" x D 1.5" (01, 02, 03, 04, 05, 06, 07, 08, 09)
H 29.75" x W 19.75" x D 2" (10, 11, 12)
Through the 'Linear Fragments' series of works, Khosla seeks to question the objectification of waste materials, while investigating the intersection of materiality and the act of hand weaving – revealing a dynamic interplay between the two.
Discarded plastic bags cut into strips, coastal fishing ropes and nets, raffia as well as jute yarns extracted from jute sacks found in Goa are the primary elements of the textile works - each one laboriously unspooled, washed and rewoven with hand, adding texture, dimension and visual language to each of the works.
The exploration and examination of the discarded materials was the starting point in understanding their ability to transform beyond the ‘ordinary’ or ‘mundane’ and reconfiguring the waste into witness. Each panel is an assemblage of experimental weaving techniques and the power of deconstructed materials that form the warp and weft of each of the works. Using a simple needle, the untangled and frayed materials are transformed beyond their present reality as they interweave with each other into architectures of entanglement.
The Linear Fragments series of works reimagines discarded matter into intricate weaves inviting viewers to examine their personal interactions with materials and resources that are prevalent in our daily lives.
Linear Fragments (2025)
Discarded fishing rope, plastic bag strips, jute and nylon yarns extracted from discarded sacks handwoven around cotton canvas and handmade wooden frame looms.
H 8" x W 10" x D 1.5" (01, 02, 03, 04, 05, 06, 07, 08, 09)
H 29.75" x W 19.75" x D 2" (10, 11, 12)
India Art Fair YCP, 2026
India Art Fair Young Collectors’ Programme presents the ‘Linear Fragments’ series in the central exhibition ‘Omens. Organisms. Objects. Order’ at Triveni Kala Sangam in New Delhi from Jan 31st – Feb 8th, 2026.
Inviting viewers to tread through a new topography and encounter the works as an archivist, the group exhibition presents itself as an imaginarium of object hood, each work treated as an artefact and a technē, with their own layers of material grammar, narrative motifs, and ritualistic behaviours. It is refused a singular reading, instead the works loop across various ontologies, languages and meanings, inviting people to re-order.
Presenting nine works from the ‘Linear Fragments’ series as investigative studies of material ecology and labour, inviting viewers to examine their personal interactions with materials and resources that are prevalent in our daily lives. Each handwoven panel is an assemblage of experimental weaving techniques and the power of deconstructed materials that form the warp and weft of each of the works. Using a simple needle, the untangled and frayed materials are transformed beyond their present reality as they interweave with each other into architectures of entanglement.
Linear Fragments (2025)
Discarded fishing rope, plastic bag strips, jute and nylon yarns extracted from discarded sacks handwoven around cotton canvas.
H 8" x W 10" x D 1.5"
Inviting viewers to tread through a new topography and encounter the works as an archivist, the group exhibition presents itself as an imaginarium of object hood, each work treated as an artefact and a technē, with their own layers of material grammar, narrative motifs, and ritualistic behaviours. It is refused a singular reading, instead the works loop across various ontologies, languages and meanings, inviting people to re-order.
Presenting nine works from the ‘Linear Fragments’ series as investigative studies of material ecology and labour, inviting viewers to examine their personal interactions with materials and resources that are prevalent in our daily lives. Each handwoven panel is an assemblage of experimental weaving techniques and the power of deconstructed materials that form the warp and weft of each of the works. Using a simple needle, the untangled and frayed materials are transformed beyond their present reality as they interweave with each other into architectures of entanglement.
Linear Fragments (2025)
Discarded fishing rope, plastic bag strips, jute and nylon yarns extracted from discarded sacks handwoven around cotton canvas.
H 8" x W 10" x D 1.5"
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