After formal jury selection in 2025, she returns in 2026 with a new graphite self-portrait at one of Europe’s oldest art institutions.
NY, UNITED STATES, February 16, 2026 /EINPresswire.com/ — When a historic European art institution evaluates a young artist under the same formal standards applied to established practitioners, the result is not novelty — it is institutional recognition.
Twelve-year-old Singapore-based artist Aaradhya Sunder returns to Art Capital Paris 2026 in Paris, France, following her jury-led selection in 2025 within the Salon des Artistes Français, founded in 1667. The Salon — historically associated with artists such as Auguste Rodin and Édouard Manet — remains one of Europe’s most established exhibition platforms.
The annual Art Capital Paris exhibition is one of the largest contemporary art gatherings in Europe, drawing international artists, curators, and collectors to Paris each year.
In 2025, Aaradhya became one of the youngest artists selected to exhibit at Art Capital Paris, held at the Grand Palais Éphémère. Her painting The Eye of Tomorrow received a formal written assessment from Alain Bazard, President of the Painting, Drawing, Digital Art and Tapestry sections of the Salon des Artistes Français.
In his evaluation, Bazard described the work as demonstrating “a particularly acute awareness of the future of the Earth,” situating it within a symbolic, surrealist tendency. He commented on the painting’s compositional coherence, atmosphere, depth, and its central metaphor — trees transforming into fissures of the earth — interpreting it as a composed vision of nature’s eventual reclamation.
Such written assessment reflects structured institutional evaluation rather than age-based encouragement.
Continued Recognition in 2026
During the four-day Art Capital exhibition featuring more than 3,000 artists from over forty countries, Aaradhya was formally acknowledged by Bruno Madelaine, President of Art Capital Paris, for the second consecutive year. Her name appeared in the official catalogue and on the exhibition walls at the Grand Palais, placing her participation within the Salon’s continuing institutional record.
In 2026, she returns with a new graphite self-portrait titled The Girl Who Paints Her Soul. Where her earlier work engaged environmental allegory, the new drawing turns inward. Rendered with restraint and punctuated by subtle red and blue floral motifs, the piece explores identity, emotional containment, and psychological structure.
The continuity of jury-led participation signals developmental progression rather than one-time selection.
In Paris, she is presented by Galerie Linda Farrell, situating her exhibition within a professional gallery framework.
Artistic Formation Anchored in Structured Mentorship
Aaradhya’s artistic development has been anchored primarily at Little Artists Art Studio in Singapore, where she trains under sustained mentorship emphasizing technical discipline, compositional structure, and conceptual clarity. The studio prioritizes long-term artistic formation over competitive acceleration.
Alongside her primary training at Little Artists, she has participated in structured educational programs led by instructors affiliated with the Museum of Modern Art (MoMA), New York. She also continues formal study pathways connected to the Nanyang Academy of Fine Arts (NAFA) in Singapore, founded in 1938 and widely regarded as one of Asia’s leading arts institutions.
Beyond France, her work has been included in:
• National Gallery Singapore Children’s Biennale (2025–2026)
• An international juried exhibition in Beijing (recognized as a Laureate)
• Two consecutive TEDx events in Singapore
Her participation at Art Capital Paris has been acknowledged in official communications by Indian Prime Minister Narendra Modi, reflecting the presence of Indian-origin talent within one of Europe’s oldest cultural institutions.
International Perspective
Commenting on her broader potential, Dr. Ashfaq Ishaq, Founder of the International Child Art Foundation in Washington DC, noted:
“She’s highly creative and a polyglot. She can use her creativity in any field she chooses, not only art.”
Institutional Evaluation, Not Spectacle
The international contemporary art world is familiar with prodigy narratives. What distinguishes this trajectory is continuity within established evaluative structures.
For New York — one of the world’s leading art capitals — the relevance lies not in youth alone, but in how youth is framed and tested under historic criteria.
Aaradhya Sunder’s return to the Salon des Artistes Français reflects sustained jury-based selection, structured mentorship, and international exposure grounded in formal evaluation.
Europe has assessed.
The work now returns for continued examination.
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