In a digital economy where attention is limited and reputation can define a business before a customer ever makes contact, Seraj Ansari is building his professional identity around one clear idea: meaningful growth begins with meaningful communication. Working across public relations, social media marketing and digital brand building, Ansari represents a new generation of professionals who understand that visibility alone is not enough. What matters is building trust, relevance and a reputation that lasts.

Based in Delhi, Seraj Ansari has developed a professional profile focused on PR and social media marketing, with experience associated with Graphketing. His approach reflects the changing nature of modern marketing, where brands are expected to communicate consistently across digital platforms rather than depend only on traditional advertising. From strengthening online presence to shaping brand narratives, his work sits at the intersection of communication, marketing and relationship building.

One of the strongest aspects of Ansari’s professional philosophy is his emphasis on reputation. In an environment where businesses can gain visibility overnight but lose credibility just as quickly, strategic communication has become a serious business function. A strong digital presence requires more than frequent posts or promotional campaigns; it requires a clear message, consistent positioning and an understanding of what audiences genuinely value. This perspective makes PR and social media not merely promotional tools, but long-term assets for brand development.

Ansari’s professional journey also reflects a wider shift taking place across India’s business ecosystem. Entrepreneurs, startups and established companies are increasingly looking for specialists who can connect storytelling with measurable digital growth. His work highlights the importance of combining creative communication with structured marketing thinking—an approach that can help businesses stand out in increasingly crowded markets.

As digital competition continues to intensify, professionals like Seraj Ansari are helping redefine what effective brand communication looks like. His focus on PR, social media marketing, personal branding and reputation-building positions him within a rapidly evolving industry where trust has become one of the most valuable currencies. For brands seeking sustainable visibility, the lesson is straightforward: being seen is useful, but being remembered for the right reasons is far more powerful.

In an age where people can communicate instantly, some of the most important emotions are still left unsaid. Exploring this quiet side of human connection, young author Ansh Johri has introduced The Life I Lived With You Alone, an emotional prose and poetry collection that looks at love, memories, attachment, distance and the thoughts people often keep to themselves.

The book does not follow a conventional love-story format. Instead, The Life I Lived With You Alone focuses on the emotional experiences surrounding relationships and connections—moments that may appear ordinary from the outside but can carry an entirely different meaning for the person experiencing them.

Through a combination of prose and poetry, Ansh Johri explores emotions such as longing, unspoken affection, waiting, emotional attachment and the difficulty of letting go. The writing gives attention to the small details that often become significant in our memories: conversations, messages, familiar moments and the silence that sometimes says more than words.

One of the central ideas behind The Life I Lived With You Alone is the idea of experiencing an entire emotional world around someone, even when that world may not exist in the same way for them.

The book also moves beyond heartbreak. Its reflections turn toward acceptance, self-worth and healing, suggesting that moving forward does not necessarily require anger or resentment. Instead, it can mean understanding what a connection meant, accepting what it could not become, and gradually learning to choose one’s own peace.

This balance between emotional vulnerability and self-reflection is what gives the book its broader appeal. Readers are not simply presented with a story to observe; they are encouraged to connect the writing with emotions and memories from their own lives.

The reader is also invited to pause and think about their own unfinished emotions, memories or someone whose name may still hold meaning for them.

With The Life I Lived With You Alone, Ansh Johri aims to create a reading experience that is intimate, reflective and relatable.

Rather than asking readers to simply remember a character or a story, the book encourages them to look inward and recognize the emotions they may have carried themselves.

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For a young author entering the literary space with a work centered around emotional connection and self-discovery, The Life I Lived With You Alone presents Ansh Johri as a voice exploring the quieter and often overlooked side of human emotions.

From Bhubaneswar’s marketplaces to Niyamgiri hills and the New Parliament, her art lives beyond the gallery – in community, ecology and everyday life

Bhubaneswar, Sept 11, 2026:* In a time when contemporary art is often limited to gallery spaces, Bhubaneswar-based artist *Satyabhama Majhi has spent over two decades taking art to the people – to market lanes, village walls, hill slopes, public spaces and school classrooms.

A contemporary visual artist, curator, social activist, community art practitioner and Secretary of Sasatwa Foundation, Majhi works across painting, sculpture, installation, photography, mixed media and public art. Her true medium is connection – between people and place, memory and modernity, tradition and today.

Early Life: The Market as First Studio

Majhi grew up in Bhubaneswar, observing everyday life around her father’s small shop in a local market. Vendors bargaining, festivals, neighbourhood ties, animals, the constant transformation of the city – this everyday theatre became her first art school.

As Bhubaneswar urbanised rapidly, old neighbourhoods and collective memories began to disappear. Majhi began archiving them. Her paintings are not portraits of one person, but crowded social landscapes of many people, animals, plants, buildings and rituals – a visual memory of a changing city.

She holds a *Master of Fine Arts (M.F.A.) in Traditional Art*, but her practice soon evolved into a multidisciplinary language.

The Niyamgiri Dialogue: 12 Years with Dongaria Kondh

The most defining chapter of her practice is her *more than a decade-long engagement with the Dongaria Kondh community of the Niyamgiri hills.*

It was not a project of documentation, but of listening and learning. She studied their livelihood, spirituality, their reverence for *Niyam Raja*, and their intimate relationship with forest and land.

This changed her art materially. Inspired by indigenous wall painting, she began making colours from the land itself – *chalk stone, charcoal, turmeric, geru soil and brown stone from Niyamgiri*, processed with natural binders. The hill itself became pigment.

From this engagement emerged two key concepts in her work:

1. The Triangle Motif: Taken from Dongaria visual culture and the silhouette of the Niyamgiri hills, symbolising stability, sacred geography and divinity.

2. “Up and Down”: Inspired by the daily journey of Dongria people climbing up and down the hills for water, market and rituals – a metaphor for human struggle, movement and resilience.

Two Core Concepts: Un-Urbanisation and Nature as Kin

Majhi’s recent philosophy is built on two ideas.

Un-Urbanisation: She reverses urban development on canvas – bringing trees, animals, village life back into the concrete city, asking what the city has forgotten.

Dongria Lifestyle with Nature: She shows that for Dongaria, nature is not a resource to be used, but a family to belong to – god, home and identity at once.

From Cuttack Walls to the Parliament of India

Public art is central to her belief that art should meet people on the street.

Her large-scale murals and interventions are visible across Odisha, including *Ring Road and Dagabara Sahi in Cuttack*, and works created for the *Men’s FIH Hockey World Cup and Asian Athletics Championships in Bhubaneswar.* Her community projects *Pago_ and _Thought Loom* transformed walls into dialogues.

In 2023, she served as Co-Sutradhar and creative contributor to _People’s Wall – Jan, Janani and Janmabhumi_, a landmark participatory art project commissioned by *Lalit Kala Akademi for the New Parliament House in New Delhi*, bringing together women artists and artisans from across India.

The Educator: 15 Years with Children

For about 15 years, Majhi has worked with children, tribal residential schools and children with disabilities through initiatives like *Kalpanadham* and in collaboration with *Gram Vikas and Tata Trusts.*

Her pedagogy is simple: “Don’t copy, remember.” Children are encouraged to draw from their own memories – their house, tree, animal, festival, village journey.

Recognition and Ongoing Show

Majhi’s works have been presented at *Bharat Bhavan Bhopal, Nature Morte Gurgaon, Lalit Kala Akademi New Delhi, Odisha Lalit Kala Akademi, Bhubaneswar Art Trail, Gram Art Project and Vancouver Biennale-linked projects.*

She is a recipient of the *Odisha Lalit Kala Akademi State Award (2012)* and the *National Lalit Kala Akademi Scholarship (2009-2010).*

Currently, her solo show *’Land as Memory, Matter as Landscape’ at artCENTRIX Space Gallery* brings together her journey – where soil is memory and landscape is story.

At its heart, Satyabhama Majhi’s practice asks one vital question in an age of rapid change: How do we keep our places, and our memories of them, alive?