Q. Congratulations on receiving this recognition! Brief us about yourself and how your interest in art started.

Jullay! I am from Sapi village in the Kargil district. I completed my schooling at Lamdon Model Senior Secondary School, Leh, and later pursued a Bachelor of Fine Arts (BFA) from the Institute of Music and Fine Arts, Jammu University in 2019. I went on to earn my Master of Fine Arts (MFA) from Kalabhavana, Visva-Bharati University, Santiniketan, West Bengal in 2021.

My association with painting began in childhood—it was my hobby at first, though I never imagined it would one day become such a vital part of my life. Today, art is not only my passion but also my way of living and a medium through which I express my feelings and ideas. Even as a student, I would add creative drawings and images to every school assignment, making them incomplete without that artistic touch. My teachers noticed this potential and encouraged me with opportunities such as wall paintings and participation in art competitions. That early encouragement gave me a strong foundation.

A true turning point came when I was in the 9th standard and participated in a workshop organized by LAMO (Ladakh Arts and Media Organization). There, I met two contemporary Ladakhi sculptors, Acho Chemet Dorjay and Acho Tsering Gurmet Kungyam. They introduced me to the world of fine arts and its vast possibilities. That experience left a deep impression on me—it felt like discovering the calling of my life. From that moment, I decided to pursue Fine Arts as my path.

Q. Share with us your artistic journey—where have you exhibited your work so far, and how were the experiences?

After completing my Fine Arts studies, I found myself back at LAMO nine years later, selected for their third Winter Artist Residency. It felt like coming full circle, as LAMO was the place where my artistic journey truly began. I am deeply grateful to LAMO for this opportunity, especially to my mentor, Acho Tsering Mutup, whose guidance elevated my way of thinking and motivated me throughout the residency.

My artistic practice draws inspiration from the architectural structures of Leh Old Town and the sustainable, eco-friendly lifestyles that have thrived in Ladakh for centuries. These traditional structures—built with stone, sun-dried bricks, rammed earth, and wood—reflect a deep understanding of Ladakh’s fragile ecosystem. Sadly, much of this sustainable heritage is gradually fading, and through my art, I seek to revive and reinterpret these practices in the context of today’s environmental challenges.

Following my residency at LAMO, I received the Lalit Kala Akademi Scholarship (2022–23), which became another milestone in my journey and laid the foundation for my artistic practice in Delhi. Living in Delhi exposed me to numerous galleries, senior artists, and diverse experiences that broadened my perspective.

I have had the privilege of exhibiting my work both within Ladakh and outside. In Ladakh, I showcased my work at Sa Ladakh, an initiative that brought together artists from around the world. It was a significant opportunity for me, and from this platform I was also invited to exhibit at the India Art Fair 2024, one of the biggest milestones in my career.

Over the years, I have participated in many exhibitions, workshops, and competitions across India. Each of these experiences has been invaluable—I not only showcased my art but also connected with people, learned from peers, and grew as an artist. I am honored to share that I received the National Award at the 64th National Exhibition of Art, Lalit Kala Akademi, New Delhi, becoming the first Ladakhi visual artist and the youngest national awardee in 2025.

In addition, in 2024, I was honored with the Abeer India Award, the Art of Hope Grant, the Lalit Kala Akademi Scholarship, and the Space 118 Grant. Each of these recognitions has strengthened my journey and inspired me to keep creating with greater responsibility and passion.

Q. Share with us about the medium you work with.

At the core of my practice lies the exploration of fragility—both in the natural environment and in humanity’s relationship with it. I metaphorically represent this fragility through the use of delicate and impermanent materials such as cardboard, paper-mâché, egg trays, and natural clay in varying shades. These humble materials, often sourced from everyday waste, are reimagined into artistic forms that symbolize the precarious balance of Ladakh’s ecological systems.

Cardboard, commonly used for roof insulation in Ladakhi homes, serves as a metaphor for both protection and vulnerability, reflecting the duality of shelter and exposure to change. Paper-mâché—crafted from old notebooks, discarded books, and cardboard—plays a central role in my process. I prepare the pulp by soaking and manually refining the material, then blending it with tamarind seed glue and local clay. This technique mirrors traditional Ladakhi architectural practices where sustainability and adaptability were vital to survival in a harsh environment. The varying hues of clay enrich the metaphor, representing Ladakh’s diverse terrains—from its stark, barren mountains to its fertile valleys.

The use of egg trays carries a more personal meaning. Their ridged, organic forms remind me of the majestic mountain ranges of Ladakh, my birthplace and the landscape that shaped my early life. Even after spending years away, the memory of these mountains has remained an integral connection to my homeland.

In my site-specific installations, I transform these fragile, impermanent materials into monumental forms that echo glaciers, mountains, and homes. Their transience aligns with the fleeting nature of both art and the landscapes they depict, emphasizing the urgency to protect what is vulnerable and disappearing.

By revisiting the traditional building techniques of Ladakh through a contemporary lens, my work seeks to align artistic practice with the region’s fragile ecology. Ladakhi architecture—with its inward-sloping walls and reliance on local resources—embodies both resilience and harmony with the environment. This duality of strength and fragility inspires my practice, inviting viewers to reflect on their own relationship with nature and the pressing need to address environmental degradation.

Through my art, I aim to evoke environmental consciousness—encouraging a deeper appreciation for the delicate balance that sustains life, not just in Ladakh but across the world. My works are both a tribute to Ladakh’s sustainable heritage and a reminder of the fragility of our ecosystems in the face of contemporary challenges.

Q. What is the status of art today, and why is it important in society?

A few years ago, contemporary art was not taken very seriously in our society, largely because there was little awareness or exposure. However, over time this perception has changed, thanks to the contributions of senior artists such as sculptors Chemat Dorjey, Tsering Gurmet Kungyam, and Tashi Namgyal, whose pioneering works reshaped public opinion and inspired younger generations to pursue art.

Art holds a very important place in society. In Ladakh, it is considered one of the “Rignas Chu” (the ten sciences of knowledge), which are essential for the holistic development of individuals and communities. A society is always in the process of change and development, but along with modernization, it is equally important to preserve ancient wisdom, culture, and tradition. We do not have to accept modernization in its entirety—we can embrace the good aspects while letting go of the negative.

Art serves as a bridge between the old and the new. It not only preserves identity and culture but also provides new ways of understanding and adapting to change. For this reason, art is indispensable in society and cannot be overlooked.

Q. What challenges do artists face in Ladakh, and what could be the solutions?

For every artist, exhibiting their work is as important as creating it—exposure and opportunities are crucial for growth. In Ladakh, however, one of the biggest challenges is the lack of proper infrastructure. We do not yet have state-supported art galleries or dedicated spaces for exhibitions. At present, most platforms are provided by individual artists, studios, or NGOs, but government-backed facilities are missing.

The establishment of state art galleries and cultural platforms would give artists a much-needed space to showcase their work, engage with audiences, and develop the field collectively. Such spaces would not only support local artists but also encourage cultural exchange and help position Ladakh as an important center for contemporary art.
At the same time, many Ladakhi artists feel the need to connect with larger cities where established art markets exist. While it is important to root our practice in Ladakh, associating with metropolitan centers allows us to sell our works, sustain our careers, and gain wider visibility. Ideally, a balance of both—strengthening Ladakh’s local art ecosystem while building connections nationally and internationally—would be the best way forward.

Q. What is your advice to the youth who are interested in art and aspire to become artists?

Every field and profession comes with its own challenges and competition, and art is no exception. What truly matters is how you approach those challenges. For me, the most important qualities are interest, passion, and consistent hard work.

If you are genuinely dedicated to your practice, opportunities will eventually come your way. Art requires patience, perseverance, and belief in yourself. My advice to aspiring artists is to stay committed, keep learning, and never lose the curiosity that first drew you to art. With sincerity and dedication, your efforts will open doors and create pathways you may not have imagined.

Message to the readers

“The support of family plays a vital role in helping every child excel in whatever profession they choose to pursue, and the same is true for art. I would also like to urge the administration to establish a dedicated state gallery—similar to the Lalit Kala Akademi—to provide a platform for the promotion of art and artists in Ladakh. Such an initiative would not only nurture local talent but also help preserve and promote the region’s cultural identity on a larger stage.”