In collaboration with Tatler Asia

Mumbai-based collector Udit Bhambri’s collection spans thousands of works. It encompasses Indian Modern masters such as the late painter and film director M.F. Husain and the late painter and sculptor Tyeb Mehta, alongside artists including Arpita Singh, Nalini Malani, Shilpa Gupta, Atul Dodiya, Sudhir Patwardhan, and Prabhavathi Meppayil. Despite the span of his collection, Bhambri remains remarkably low-key, preferring to focus on the artists rather than himself.

‘My collecting journey began when I was just eight years old. Unlike most children who begged their parents for toys, I asked for paintings. I would visit galleries every Sunday, sketching what I saw and hoping to meet the artists one day. I even carried a book, asking artists to not only sign their names but also draw something for me. Many found this amusing, but they obliged. Today, that book has become one of my most treasured possessions.

‘At the time, India’s art market was still in its infancy. Contemporary art galleries were scarce. My parents initially collected Indian Modern art ­– painters like Ram Kumar, K.K. Hebbar, and Prabhakar Barwe – but over time, they came to trust my instincts and, partly giving in to my stubbornness, started to let me take the lead in selecting pieces.

‘I vividly remember the first time I saw a work by Subodh Gupta at Art Basel in Basel in 2006. It was a massive sculpture resembling an airport luggage conveyor belt, stacked with bags and mangoes – an everyday scene in India, yet transformed into something extraordinary through art. At the time, Gupta was not yet an international star, but seeing an Indian artist’s work on such a stage filled me with pride. That moment ignited my passion for contemporary art, and today, my collection is a delightful mix of older material and contemporary art.

‘For me, art is not something to be locked away in storage or displayed only on special occasions – it is meant to be lived with. Recently, I moved into a new home, a space that challenges traditional notions of art display. There are no pristine white walls, no rigidly curated rooms. Instead, the environment is designed to make art feel natural, approachable, and integrated into daily life.

‘I want to live with experiences and memories, and not merely “greatest hits.” A great work of art does not become greater because of its price – it is great because of what it makes you feel. Whether it’s a contemporary installation or a century-old painting, my philosophy remains the same: Let the art speak for itself.

‘If I had to name a guilty pleasure, it would be the joy of acquiring a piece before it becomes widely recognized. There is something special about discovering an artist early, forming a connection with their work, and living with it, before the rest of the world catches on.

‘For me, collecting has always been about the artists, not about myself. However, if an exhibition explores the relationship between collector and artist – how dialogue and patronage can shape an artist’s career – that’s something I would consider. It is also important to engage with a wider audience who may not be able to live with this art, and for the art to be seen and engaged with publicly. I would be interested in doing this in ways that do not put me at the center of it.

‘Looking ahead, my priority is not just acquiring more art, but deepening my connection with the works I already own. I want to continue supporting artists, fostering meaningful conversations, and ensuring that my collection remains a living, breathing entity – not just a static archive of objects.’