Kunel’s work examines how meaning accumulates around objects, systems, and images. Drawing from the visual languages of technology, branding, architecture, and everyday life, he recontextualises familiar forms as vessels for memory, speculation, and cultural projection.

His practice often begins with systems designed for utility, from signage and interfaces to typography and hardware, and explores what emerges when their original purpose is suspended. Alongside his studio practice, he has built a broader creative language that connects contemporary art, branding, and cultural production.

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Solo | ABRI MARS
New York, 2025
Solo | Method
New Delhi, 2025
India Art Fair | Curated by Method
New Delhi, 2025
Method at Art Mumbai
Mumbai, 2024
Portrait Of A Time | Method Kala Ghoda
Mumbai, 2024
ABRI MARS
New York, 2024
Gagné Contemporary
Toronto, 2024
The Other Art Fair
New York, 2024
Artist Project
Toronto, 2024
(Systems), India Art Fair | Curated by Method
Delhi, 2024
Typogram® | DesignTO
Toronto, 2024
The Other Art Fair
New York, 2023
(Systems) India Art Fair | Solo | Method
Delhi, 2023
Futur Proche | Group Show | Apre Art House
Mumbai, 2022
Solo | Information Architecture | Method
Mumbai, 2021
Solo | Folklores From Future | AGENC Colab
Delhi, 2020

Projects

Ather
Simp My Ride
Adidas Originals EQT
Equipment
Absolut
Absolut Warhol
Almost Gods
Bricolage / Indian Art Fair
Casetify Travel Line
A travel object
Nike
Nike Delhi represent
Dell
Dell futurist
Budweiser
Budweiser streetwear
Casetify
Function as form
Monotype
Helvetica the NFT
Jeen-yuhs
Sundance hoodie

Press

‘Templating isn’t the enemy; mindless execution is: Kunel Gaur of Animal’
Social Samosa
July 18, 2025

‘India Art Fair Concludes Successful 16th Edition’
Designboom
February 17, 2025

‘Brutalism x Streetwear: Almost Gods & Kunel Gaur Will Collaborate at India Art Fair 2025’
Homegrown
February 06, 2025

‘Kunel Gaur’s sculptural works fuse function, technology, and brutalist aesthetics.’
Blur The Border
2025

‘The Collaborative World!’
Creative Gaga
2025

‘How Kunel Gaur’s art is a dialogue between Brutalist architecture, pop culture and time’
DesignTO
August 14, 2024

‘Exhibition at India Art Fair digitally explores urban details’
Architect and Interiors India
February 12, 2023

‘Helvetica, the world’s most popular font, serves as a unifying force in a new NFT collection’
It’s Nice That
July 19, 2022

‘Kunel Gaur uses everyday material in his solo show at Method art space’
STIRworld
March 18, 2022

‘How Kunel Gaur’s art is a dialogue between Brutalist architecture, pop culture and time’
Architectural Digest
February 16, 2022

‘Ad Agencies in Web 3.0: Get crackin'’
Forbes India
February 3, 2022

‘Information Architecture’
Platform Mag
January 5, 2022

‘In-Progress Lettering Series: Kunel Gaur’
The One Club
April 9, 2021

‘Kunel Gaur’s Generic Brands’
Vogue Taiwan
March 16, 2020

‘Defining a New Indian Aesthetic’
TEDx
October, 2019

‘Three top creatives from India to serve as judges for The One Show 2020’
BestMediaInfo
December 4, 2019

‘Who is this Animal’
afaqs!
December 20, 2018

‘Design in India: featuring Animal’
DESK
June 13, 2018

‘Taxi Fabric Project’
Designboom
April 19, 2015

Projects

Animal

Post-physical

Kunel Gaur

Kunel Gaur is a multidisciplinary artist and founder whose practice moves across art, design, and culture. His work explores the emotional and symbolic life of objects, systems, and materials, often blurring the line between function and presence.

Signs of life¹

Method

D-59, Defense Colony
New Delhi

Signs of Life brings together four interconnected bodies of work — Colour Field Studies, Interface Portraits, KUMI, and Tile Assemblies — tracing an ongoing exploration of the space between sensorial experience and engineered form.

Across the exhibition, colour, pattern, typography, and industrial materials are treated as signals within larger systems of communication and perception.

Drawing from design, technology, popular culture, and everyday infrastructure, the works examine how contemporary life is shaped by the structures, codes, and interfaces that surround us. Familiar visual languages are reassembled into forms that feel at once functional and symbolic, suggesting presences that are neither entirely human nor purely mechanical, but something emerging between the two.

Positioned between object, image, and system, Signs of Life reflects on the increasingly blurred boundary between the emotional and the engineered, asking how meaning, identity, and memory continue to manifest within a world built through networks, technologies, and designed environments.

Materials: Stainless steel. Acrylic. Wood. Pigment. Ceramic tiles. Cold cathode. Car seat belt. Hardware

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CIMENTI

ABRI MARS

53a Stanton St.
New York

In Cimenti, Gaur’s assemblage becomes a site of quiet trial—each form the result of repeated gestures, adjustments, and refusals. Rooted in a post-human sensibility, these constructions no longer serve the purposes for which their parts were made. Precision remains, but purpose has dissolved. They stand as inert signals, blueprints of a logic now inaccessible—neither relic nor prophecy, but forms suspended in the gap between.

Borrowing from Galileo Galilei’s notion of “trial by ordeal,” Cimenti frames making as an experiment without a fixed outcome, where construction is a negotiation between mind and matter. Each work hovers in an elsewhere: too precise to be ruins, too mute to be tools. They feel within reach of understanding, yet remain beyond it. In that distance, they gain presence—stubborn, strange, and wholly their own.

Gaur’s sculptural works involve reconstruction and appropriation of found objects and iconography to extract new meaning. The precise assemblage of raw, architectural materials communicates the appearance of functional design. The works exist as ratios—between the human condition and the expanse of permanence, vulnerability and precision, the immediate and the distant—all in quiet exchange. Embedded in several of the works is generative imagery produced referencing only photos Gaur has made, reflecting on the nature of authenticity and technologically informed visual creation. The resulting objects offer a post-human lens, exploring existence within a space where classification begins to dissolve into unity.

Materials: Stainless steel. Acrylic. Wood. Hardware. Pigment. Ceramic tiles. Winch strap. Cold cathode.

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AsiaNow Paris

Curated by Sahil Arora

Monnaie De Paris

Paris, France

“The Long Pause Between Forces” • (Wt. 33.07 lbs)—Stainless Steel Frame and Hardware. Nylon Winch Strap. Cold Cathode. Steel Drawer Slides. Wood. Ceramic Tiles. Longboard Skate Wheels. Dimensions: 14 (L) x 14 (B) x 37 (H) inches.

This series folds cultural memory into mechanical restraint. Patterned surfaces evoke permanence and inheritance, yet their mounting suggests adaptation rather than preservation. In this encounter, ornament becomes a fragment of life continuing inside new systems.

Materials: Stainless Steel Frame and Hardware. Nylon Winch Strap. Cold Cathode. Steel Drawer Slides. Wood. Ceramic Tiles. Longboard Skate Wheels.

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Possible Models Of The Expanding Universe

Gagné Contemporary

401 Richmond St W, Toronto

“AIKO BLUE”, 2025 (aerosol on wood, resin, stainless steel hardware, cold cathode with amplifier, silkscreened hi-visibility band, 33x16x4”) as part of a group show titled POSSIBLE MODELS OF THE EXPANDING UNIVERSE - at @gagnecontemporary, Toronto till November 29.

The show explores worlds of quantum strangeness, galactic cartography, extra-terrestrial lifeforms and gravitational phenomenon.

Materials: MDF. Aerosol. Cold cathode. Stainless steel. Nylon strap.

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mail@kunelgaur.com