In his playful, allegorical depictions of nature and simple everyday life in southern India, N. S. Harsha casts a critical eye - starting close to home a t a local town - over global developments in culture, politics and economics.
Take one of his best-known early works: the “Charming Nation” series featuring a variety of stories.
Woven through these paintings are the changes occurring in Indian society since the market liberalization of the early 1990s, hinting at the impact of a globally connected world economy. They Will Manage My Hunger (2006) places the headquarters of the World Trade Organization behind farmland, and asks whether it is the farmers who till the fields, or free trade, that will grow the nation and fill the bellies of children. Charming Nation (2006), meanwhile, implicitly portrays agricultural workers losing their jobs to foreign-made agricultural equipment.