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From the banks of the Aruna River in East Champaran to international stages, Madhurendra Kumar has built a distinctive artistic identity through monumental sand sculptures, leaf art, micro-carving, sculpture and socially driven installations.
From the banks of the Aruna River in East Champaran to international stages, Madhurendra Kumar has built a distinctive artistic identity through monumental sand sculptures, leaf art, micro-carving, sculpture and socially driven installations.
Madhurendra Kumaris an Indian sand artist, sculptor, painter and multidisciplinary artist from Bihar whose work combines artistic imagination with social awareness, environmental messaging, cultural storytelling and public engagement.
Born on 5 September 1994in Barwakala, Ghodasahan, East Champaran, Bihar, and brought up in the nearby village of Bijbani, Madhurendra began experimenting with clay and sand during childhood. What started as simple figures created beside the Aruna River gradually developed into a professional artistic practice that would take him to national and international platforms.
Over the years, he has worked with an unusually wide range of materials, including sand, clay, coal ash, cement, fibre, Plaster of Paris, wax, copper, brass, aluminium, marble, granite, plywood, thermocol, grains, leaves, fruits, vegetables and recycled waste.
According to the information supplied for his profile, Madhurendra has represented India more than 75 times across 25+ countries, received 50+ international awards, more than 100 national honours, and been associated with multiple world-record titles.
His official artist website describes his work as an effort to transform sand into stories of emotion and art, while media reports have also documented his large-scale and unconventional creations.
At a Glance
Particular | Details |
Name | Madhurendra Kumar |
Profession | Indian Sand Artist, Sculptor, Painter & Multidisciplinary Artist |
Date of Birth | 5 September 1994 |
Birthplace | Barwakala, Ghodasahan, East Champaran, Bihar |
Native Village | Bijbani, Bankatwa, East Champaran, Bihar |
Known For | Sand Art, Leaf Art, Micro Art, Sculpture, Fruit & Vegetable Carving |
Education | BFA & MFA in Sculpture, Mahatma Gandhi Kashi Vidyapith, Varanasi |
International Presence | 25+ countries, according to supplied profile |
International Recognitions | 50+ awards, according to supplied profile |
National Recognitions | 100+ awards, according to supplied profile |
World Records | Multiple record-book titles, according to supplied profile |
Honorary Doctorate | Honorary Doctor of Philosophy in Sand Art, 2026, according to supplied profile |
Website | internationalsandartist.com |
madhurendrasandartist@gmail.com | |
Mobile |
The Beginning: A Child, a Riverbank and a Canvas Made of Sand
Madhurendra Kumar’s artistic journey began in the rural surroundings of East Champaran.
According to his biography, when he was around three years old, he would create figures of birds and animals using mud on a slate or on the ground. His grandfather, Ramchandra Sah, reportedly noticed this early fascination with form and predicted that the child would one day become a major artist.
As a young boy, Madhurendra often accompanied his family for agricultural and livestock-related work. While grazing buffaloes and goats near the Aruna River, he began shaping sand and clay into houses, animals and miniature sculptures.
The riverbank became his first studio.
The absence of expensive art materials did not prevent him from experimenting. Instead, the naturally available sand and clay became his medium.
This early relationship with the river and its sand eventually became the foundation of his career.
A Childhood Shaped by Poverty and Persistence
Madhurendra was born into an economically disadvantaged Kanu/Halwai family.
His father, Shiv Kumar Sah, is described as a farmer, while his mother, Gena Devi, is a homemaker who is also associated with regional folk singing, knitting and traditional Sikki craft.
His grandparents, Ramchandra Sah and Phoola Devi, also played an important role in his early life.
Being the eldest among five siblings, Madhurendra experienced financial responsibilities from an early age. His childhood involved livestock grazing, agricultural work and other forms of labour.
According to the supplied biography, he sold curd door-to-door, made bamboo baskets, sold vegetables, worked in hotels and at local fairs, painted houses and signboards, worked as a night guard and undertook survey-related work to support his education and artistic ambitions.
During his college years, financial difficulties reportedly became so severe that he spent several months sleeping in a college corridor because he could not afford hostel fees.
Rather than abandoning art, these experiences strengthened his determination.
From Local Experimentation to Professional Art
Madhurendra’s early work expanded beyond sand.
He began experimenting with:
His artistic approach gradually developed around one central idea:
Art should not only be beautiful; it should communicate something.
This philosophy became visible in his work on de-addiction, environmental conservation, water conservation, cleanliness, voter awareness, women’s empowerment, peace, cultural heritage and public welfare.
His unconventional use of waste materials has also become one of the distinctive elements of his practice.
Art with a Purpose
Madhurendra’s work frequently combines visual spectacle with a social message.
He has used discarded liquor pouches, gutkha packets, cigarette remains, packaging materials and other waste to construct sculptures highlighting the consequences of addiction and pollution.
He has also used leaves, fruits and vegetables for micro-carving and portraits.
In January 2026, for example, media reports documented his creation of an approximately 15-foot Saraswati artwork using around 20 tonnes of coal ashin Bhagalpur. The artwork incorporated Saraswati with a veena, a swan and a peacock and was presented with messages around knowledge, creativity, environmental awareness and peace.
His work therefore extends beyond conventional sand sculpture into a broader multidisciplinary practice.
Major Social-Awareness Works
The Anti-Addiction Thermocol Artwork — 2004
On 4 February 2004, during an anti-addiction awareness campaign in the India–Nepal border region, Madhurendra created a thermocol artwork depicting a human skeleton.
The work incorporated cigarette-related and tobacco-related waste, including pouches and other discarded materials.
The intention was to communicate the physical and social consequences of addiction.
The artwork was accompanied by an awareness campaign encouraging people to give up intoxicating substances.
Anti-Addiction Campaign — 2005
In 2005, Madhurendra created a large thermocol representation of Lord Shiva for a social-awareness campaign.
The artwork incorporated representations of tobacco and other addictive substances and used the symbolism of Lord Shiva’s consumption of poison to communicate a message about rejecting addiction.
The campaign encouraged viewers to make a commitment to building healthier families and communities.
“Sarvadharm Ki Shahadat” — A Turning Point
One of the major early milestones in Madhurendra’s career came in 2005, when he created a massive sand sculpture in Bathinda, Punjab.
According to the supplied profile, approximately 200 tonnes of sand, around 50 workersand 15 days of workwent into creating a sculpture approximately 40–45 feet high and 100 feet long based on the theme “Rashtra Ko Samarpit Sarvadharm Ki Shahadat.”
The work honoured martyrs and communicated a message of national unity and religious harmony.
The profile records that former President Dr. A. P. J. Abdul Kalamappreciated the work.
This recognition became an important motivational moment in Madhurendra’s artistic journey.
First Indian Wax-Art Exhibition in Nepal
In 2006, Madhurendra reportedly presented wax art in Nepal.
The following year, he created a miniature wax representation of Maa Kankaliat the historic Simraungadh area.
The supplied biography describes the sculpture as approximately six inches by three inches and weighing around 500 grams.
The work combined religious imagery, micro-sculpture and the cultural relationship between India and Nepal.
Gandhi Jayanti Artwork — 2007
On 2 October 2007, Madhurendra created a socially themed installation using plywood and thermocol.
The artwork included Mahatma Gandhi, his three monkeys and representations of currency notes, along with a saluting police figure.
The central idea was a commentary on the increasing importance of money in society and the perceived neglect of Gandhian ideals.
Rather than presenting Gandhi only as a historical personality, Madhurendra used the installation to ask viewers to consider how society’s priorities had changed.
Micro-Art with Grains — 2008
In April 2008, Madhurendra created a miniature representation of Goddess Durga using grains.
According to the supplied information, approximately 25,000 rice grains and 20,500 lentil grainswere used with wax to create a sculpture around five inches tall.
The work demonstrated his ability to shift from enormous public installations to extremely small-scale art.
Micro-art would subsequently become an important part of his artistic identity.
The Giant Spectacles — 2009
For World No Tobacco Day in 2009, Madhurendra created a giant pair of spectacles using thermocol.
The structure was approximately 20 metres long and 10 feet high.
One side represented healthy eyes using fruits and vegetables, while the other represented damaged eyes using tobacco-related products and waste materials.
The artwork connected nutrition, eye health and the dangers associated with tobacco and substance use.
It reflected Madhurendra’s continuing interest in turning public-health messages into visually memorable installations.
The Giant Plywood Painting — 2010
In November 2010, Madhurendra created a massive plywood artwork depicting the Sun God during the Chhath festival.
The supplied profile describes the artwork as approximately 100 metres wide and 40 feet high.
The installation used the cultural context of Chhath to address contemporary economic concerns, including the rising prices of essential commodities.
It represented an early example of Madhurendra combining religious and cultural imagery with contemporary social commentary.
Waste as a Medium — 2011
Madhurendra continued his experiments with recycled material in 2011.
One installation reportedly incorporated:
The waste was transformed into a human skeleton.
Instead of hiding discarded material, Madhurendra placed it at the centre of the artwork.
The result was intended to demonstrate how the materials associated with addiction could become a visual warning against addiction itself.
“Developed India” and Dr. A. P. J. Abdul Kalam
In 2012, Madhurendra created a canvas painting themed around “Developed Country India”, depicting the importance of science and India’s development.
The artwork was presented during a science-related event and, according to the supplied profile, received appreciation from former President Dr. A. P. J. Abdul Kalam.
For Madhurendra, Kalam’s appreciation was particularly meaningful because it came after years of financial hardship and uncertainty surrounding his artistic career.
He has described Kalam’s encouragement as an important source of motivation.
International Recognition Begins
Madhurendra’s work increasingly moved beyond Bihar.
In 2013, he participated in an international competition in Myanmar with a sand artwork themed “Stop World Population.”
His work began addressing issues that extended beyond local concerns:
His international participation subsequently expanded across Asia, Europe, the Middle East, North America and other regions.
Sand Art and Cultural Preservation
Madhurendra’s work is not limited to contemporary issues.
He has repeatedly used sand and other materials to represent:
His 2015 artwork connected sand and thermocol sculpture with Bharatanatyam, using goddess figures and classical dance poses to communicate a message about India’s traditional performing arts.
Nepal Tobacco-Awareness Artwork — 2016
On World No Tobacco Day in 2016, Madhurendra created a large sand sculpture in Hetauda, Nepal.
The approximately 10-foot artwork represented the harmful effects of smoking on the lungs.
The project was designed as a public-awareness campaign and encouraged young people and local residents to move away from tobacco use.
This was another example of his use of public art as a communication tool.
Bihar’s Sand-Art Movement
Madhurendra’s career has become closely associated with the development and popularisation of sand art in Bihar.
Unlike Odisha and other coastal regions where sand sculpture has a long-established public presence, Bihar is a landlocked state.
Madhurendra used the sand of riverbanks as his primary medium.
The Aruna, Ganga, Gandak, Kosi and Son river systems provided natural settings for his work.
Over time, his large-scale sculptures appeared at major cultural events throughout Bihar.
His work has included the:
Media coverage has continued to document his work at major public events. In 2026, for instance, Hindustan reported that he created a 10-foot sand artwork using around 30 tonnes of Kosi River sand during Samriddhi Yatra in Supaul.
Sonpur Mela and Repeated Sand-Art Performances
The historic Sonpur Melabecame one of the recurring platforms for Madhurendra’s large-scale sand work.
According to his supplied profile, he participated in sand-art presentations there across multiple years and created works around subjects including the legendary Gaj-Grah episode.
The profile also records multiple claimed world-record recognitions associated with his Sonpur works.
Bodh Gaya and the Story of Buddha
Buddhist themes have become another important area of Madhurendra’s practice.
He has repeatedly participated in the Buddhist Festival at Bodh Gaya.
According to the supplied information, in 2026 he created 50 separate sand sculptures depicting different stages of Siddhartha Gautama’s life, including Mahaparinirvana.
The work was presented as a comprehensive artistic narrative of Buddha’s journey from Siddhartha to enlightenment and beyond.
The supplied profile identifies this work with a U-N Book of World Records recognition in 2026.
Giant Buddha Sand Sculptures
Madhurendra has also created large-scale Buddha sculptures at the Falgu River in Bodh Gaya.
The supplied profile records a 2023 work approximately 40–42 feet high, created around the themes of world peace, non-violence and harmony.
The work was subsequently associated with a European Book of World Records claim in the supplied biography.
Bihar’s Government and Public-Awareness Campaigns
A major part of Madhurendra’s recent work has involved creating art around public-awareness campaigns.
His supplied profile associates him with themes including:
His art has frequently been installed at government programmes and public events.
Election Awareness and Brand-Ambassador Roles
According to the supplied information, Madhurendra was associated with voter-awareness campaigns around the 2019 Lok Sabha electionand 2020 Bihar Assembly election.
His giant sand sculptures were used to encourage citizens to participate in elections.
The profile identifies him as having served as a brand ambassador associated with voter-awareness initiatives, including the Dhaka Assembly constituency.
This aspect of his career illustrates how public art can be used as a communication medium for democratic participation.
Swachh Survekshan
In 2021–22, Madhurendra’s profile states that he was associated with the Swachh Survekshancampaign as a brand ambassador for public awareness.
His sand artworks around themes such as “Swachh Shahar, Swachh Gaon”were designed to communicate the importance of cleanliness.
His approach was simple: instead of relying only on written messages, he created giant visual forms capable of attracting people from a distance.
COMFED / Sudha Dairy
The supplied profile also states that Madhurendra served as a brand ambassador associated with Bihar State Cooperative Milk Producers’ Federation Limited (COMFED)/ Vikramshila Milk Producers’ Union in connection with the National Farmers Fair 2024.
The artistic objective was to connect rural milk producers, agricultural communities and consumers through public art.
Art for Agriculture and GI-Tag Awareness
Madhurendra has repeatedly created sand artworks around agricultural products and GI-tag awareness.
According to the supplied profile, he received recognition for such works during Bihar Foundation Day and agricultural events between 2021 and 2025.
These artworks were designed to educate audiences about Bihar’s agricultural identity and the importance of recognising and protecting regional products.
A Multidisciplinary Artist
Calling Madhurendra simply a sand artist does not fully describe his practice.
His work extends across multiple forms.
Sand Art
Large-scale sculptures created from river and beach sand.
Leaf Art
Highly detailed carvings and portraits created on leaves.
Fruit & Vegetable Carving
Micro-art and portraits carved into fruits and vegetables.
Grain Art
Extremely small artworks using rice, lentils and other grains.
Wax Art
Small and detailed sculptures created using wax.
Thermocol Art
Large installations and social-awareness artworks.
Plywood Art
Large-scale paintings and installations.
Sculpture
Work involving clay, marble, granite, cement, fibre, POP and metals.
Recycled-Waste Art
Artworks made using discarded bottles, tobacco packets, cigarettes and other waste.
Coal-Ash Art
Large artworks created using industrial coal ash, including the 2026 Saraswati artwork reported in Bhagalpur.
A New Chapter in Coal-Ash Art
In January 2026, Madhurendra experimented with another unconventional material: coal ash.
Using approximately 20 tonnes of ash, he created a roughly 15-foot representation of Goddess Saraswati at Kahalgांव in Bhagalpur.
The work demonstrated his continuing interest in converting industrial waste into an artistic medium.
The creation attracted public attention and was covered by regional media.
World Records
The supplied profile lists Madhurendra Kumar as a holder of multiple world-record titles.
These include:
Supreme World Record Title — 2012
The supplied biography connects this recognition to the massive “Sarvadharm Ki Shahadat”sand sculpture created in Bathinda in 2005.
United States Global Merit Record — 2014
The profile associates this title with a large Save Dolphinsand sculpture created at the Ganga Diara in Patna.
Prestigious Book of World Record — 2019
This recognition is associated in the supplied profile with a giant voter-awareness sand sculpture created during the 2019 election period.
Orient Book of World Record — 2022
The profile associates this title with a large sand sculpture of the Sun God riding seven horses created during Chhath.
Asian Book of World Record — 2022
The supplied information associates this record with a large-scale representation of the Gaj-Grah Yuddhaat Sonpur Mela.
European Book of World Record — 2023
This recognition is associated with the giant Buddha sculpture created near the Falgu River at Bodh Gaya.
London Book of World Record — 2025
According to the supplied profile, Madhurendra was recognised for creating more than 5,000 unique sand artworks carrying positive social messages.
The profile states that the recognition was presented in London.
Asian Book of World Record — 2025
The supplied profile associates the 2025 record with 50 sand sculptures depicting the Gaj-Grah episodeat Sonpur Mela.
U-N Book of World Record — 2026
The profile associates this recognition with his collection of 50 Buddha-life sand sculptures.
USA Book of World Record — 2026
According to the supplied profile, this recognition relates to more than 21,000 leaf artworkscreated to communicate positive social messages.
Forbes Book of World Record — 2026
The supplied profile associates this recognition with more than 100 sand artworks created across Bihar around government programmes and public-awareness themes.
Editorial note:The world-record titles and counts above are presented as supplied in the artist’s profile. Independent verification of each record organisation and individual certificate would be required before describing every claim as independently verified.
International Journey
According to the supplied biography, Madhurendra has represented India in more than 25 countriesand participated in more than 75 international events, festivals and competitions.
The profile lists international engagements or recognitions connected with countries including:
USA, UK, France, Germany, Denmark, Spain, Italy, Russia, Japan, China, Singapore, Malaysia, Netherlands, Belgium, Bhutan, Nepal, Bangladesh, Myanmar, Sri Lanka, South Korea, Oman, Australia, Turkey and Canada, among others.
His international journey includes sand sculpture festivals, art exhibitions, competitions, cultural events and awareness campaigns.
A 2020 Times of Indiareport independently documented his participation in the International Sand Art Festival in Odisha and described his journey from East Champaran to the international festival.
International Awards and Recognitions
The supplied profile records international recognitions associated with:
The profile also lists participation or awards in France, China, UK, USA, Singapore, Japan, Malaysia, Denmark, Germany, Italy, Netherlands, Russia, South Korea, Belgium, China, Spain, Oman, Australia, Turkey and other countries.
National Awards and Recognition
Madhurendra’s supplied profile includes a long list of national, state and regional recognitions.
Among the prominently listed awards are:
The profile records many additional awards from cultural festivals, government events, educational institutions and social organisations.
Recognition from Public Figures and Institutions
According to the supplied profile, Madhurendra’s artworks have received appreciation from numerous public figures and institutions.
These include references to appreciation by:
His supplied profile also mentions appreciation from institutions and organisations connected with art, culture, tourism, elections, cleanliness, agriculture and public welfare.
“Great Personalities of Bihar”
In 2023, Madhurendra Kumar’s name and artistic journey were included in the book “Bihar Ke Mahan Hastiyan”, published by Prabhat Publication and written by Lalit Kumar, according to the supplied profile.
The inclusion recognised his contribution to art and his representation of Bihar on wider platforms.
Education
Madhurendra’s formal education developed alongside his artistic journey.
School Education
His early schooling took place in the government school in his native village.
He completed matriculation through the Bihar School Examination Board in 2009, reportedly obtaining 54.2%.
He completed higher secondary education from Jawahar Lal Nehru Memorial College, Ghodasahan, with reportedly 66.2%.
Bachelor of Arts
He studied Hindi and completed his B.A. through Jawahar Lal Nehru Memorial College, affiliated with Babasaheb Bhimrao Ambedkar Bihar University.
Fine Arts Education
His major artistic education includes:
BFA in Sculpture
Mahatma Gandhi Kashi Vidyapith, Varanasi
MFA in Sculpture
Mahatma Gandhi Kashi Vidyapith, Varanasi
The supplied profile also records additional training in painting through Pracheen Kala Kendra, Chandigarh.
Additional Qualifications
The supplied profile lists several additional qualifications, including:
This combination of formal art education and practical experience has contributed to Madhurendra’s multidisciplinary approach.
Honorary Doctorate — 2026
According to the supplied information, Madhurendra Kumar received an Honorary Doctor of Philosophy in Sand Artfrom America International University (AIU), Hollywood, California, USA, in 2026.
The recognition was described as being awarded for his exceptional and global contribution to sand art.
A July 2026 profile published by Influencive India also reported the honorary doctorate and described it as a significant recent milestone in his artistic journey.
The Artist Behind the Social Message
One of the defining features of Madhurendra’s career is his use of art as a communication tool.
His subjects have included:
Environment
Society
Democracy
Culture
Public Development
This combination of spectacle and messaging has become central to his public identity.
Media Recognition
Madhurendra’s work has appeared in Indian media across print, television and digital platforms.
The supplied profile lists coverage by publications and organisations including:
Recent reporting has continued to feature his work. For example, Amar Ujalaand Hindustancovered his 2026 coal-ash Saraswati sculpture, while Hindustanreported on his 2026 Samriddhi Yatra sand sculpture.
A Career Built Around Innovation
Madhurendra’s artistic vocabulary continues to evolve.
He has moved from:
Sand → Clay → Thermocol → Plywood → Wax → Grains → Leaves → Fruits → Waste → Coal Ash
This progression illustrates a willingness to experiment with materials rather than restricting himself to a single medium.
His work demonstrates that artistic scale can range from a massive public sculpture to a tiny carving on a grain or leaf.
Leaf Art: Another Dimension of His Practice
Leaf carving has become one of Madhurendra’s most recognisable forms of micro-art.
He uses leaves, particularly green leaves such as peepal leaves, to create detailed portraits and symbolic artworks.
In 2025, Hindustanreported that he created a portrait of Madhubani artist Padma Shri Godavari Dutton a peepal leaf as a tribute following her death.
The artist’s supplied profile associates his leaf-art practice with more than 21,000 creations and a 2026 USA Book of World Records claim.
Fruit and Vegetable Carving
Madhurendra also works on fruits and vegetables.
His practice includes detailed micro-carving and portraits on materials such as:
This approach transforms ordinary food materials into temporary works of art.
The Madhurendra Art & Craft Research Institute
Madhurendra’s ambitions extend beyond his own career.
According to the supplied information, he established “Madhurendra Ki Kala Evam Shilp Anusandhan Sansthan”with the intention of helping children and young people from economically weaker backgrounds learn art.
The broader vision is to create a platform where talented students can access training regardless of their financial background.
Training and Skill Development
The proposed training areas include:
The objective is not only artistic development but also employment and self-reliance.
The Gurukul Vision
Madhurendra’s future educational model is inspired by the idea of a Gurukul-based art education system.
He wants students to learn not only theory but also practical techniques directly through workshops, projects, exhibitions and real-world artistic assignments.
The proposed curriculum includes:
The ultimate goal is to help young artists become professionally capable and financially independent.
Future Plans
Madhurendra’s future vision includes establishing a free or accessible art academy for talented children from rural and economically weaker communities.
His stated plans include:
1. A Free Sand-Art Academy
To provide training to children who cannot afford professional art education.
2. Global Promotion of Indian Culture
To use modern techniques such as 3D sand art and fusion leaf art to introduce Indian traditions to international audiences.
3. Environmental Art Campaigns
To take environmental messages to beaches, riverbanks and public spaces around the world.
4. Art Curriculum
To create structured courses covering sand art, leaf art and fruit art.
5. A Book on Sand Art
To document his experience, techniques and the evolution of sand art.
6. Research and Documentation
To document Indian folk and craft traditions and create digital archives.
7. Artist Employment
To connect traditional art skills with livelihood opportunities for rural communities.
The Philosophy Behind the Art
Madhurendra Kumar’s journey can be understood through three ideas:
Resourcefulness.
When conventional materials were unavailable, he used whatever nature and society placed around him.
Persistence.
Financial hardship, family pressure and difficult living conditions did not end his artistic journey.
Purpose.
His sculptures frequently attempt to communicate a message rather than exist purely as decorative objects.
This philosophy has helped shape a career where the material itself often becomes part of the message.
From a Riverbank to the World
The story of Madhurendra Kumar is ultimately a story about transforming limitations into possibilities.
A child from a financially disadvantaged rural family began making figures from mud and sand beside the Aruna River.
Years later, the same material became the foundation of a career involving giant public sculptures, international festivals, social-awareness campaigns, micro-art, leaf carving and multidisciplinary installations.
His work has appeared in Bihar’s major cultural events, national festivals and international art platforms. Recent media coverage shows that he continues to experiment with new materials and public themes, including coal ash, large-scale sand portraits and cultural installations.
For Madhurendra, sand is more than a material.
It is a language.
A language through which he tells stories about India, society, culture, environment, peace, public awareness and human possibility.
Madhurendra Kumar — The FlexiMaps Perspective
In an era when visual communication is increasingly important, Madhurendra Kumar represents a distinctive form of Indian creative entrepreneurship: turning artistic skill into public communication.
His journey demonstrates how an artist can move between traditional materials and modern public campaigns, between microscopic leaf carving and monumental sand sculpture, and between local cultural festivals and international art platforms.
From the riverbanks of East Champaran to international stages, his work reflects a continuing search for new materials, new subjects and new ways to communicate.
His next chapter is therefore not only about creating larger sculptures.
It is about creating more artists.
Through his proposed academy, research activities and training programmes, Madhurendra aims to ensure that children who grow up with limited resources can still discover the same possibility he found beside the Aruna River: the ability to turn something ordinary into something extraordinary.
Contact Madhurendra Kumar
Madhurendra Kumar – Indian Sand Artist
Website:International Sand Artist
Mobile:9430412002
Email:madhurendrasandartist@gmail.com
Core Areas
Sand Art | Sculpture | Leaf Art | Micro Art | Fruit & Vegetable Carving | Social Awareness Art | Environmental Art | Cultural Art | Public Installations
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