Meera Devidayal's art has in the past decade been firmly engaged with the city. Reflected in her paintings are a gamut of experiences, taken from the highs and lows of urban life. The city inspires: in the downside of a teeming metropolis, she celebrates the grit of the survivor. The taxi-driver is the quintessential immigrant and she often references taxi-drivers (Tum Kab Aoge, 2005) along with daily wage labourers, domestic workers and the working class (Where I Live, 2009), juxtaposing them against aspirational images of Bollywood icons.
In the seventies, her work consciously engaged with popular culture, bazaar and kitsch art often taking a humorous turn. Charging 'found images' such as family pictures, newspaper photographs and film posters with new meaning. She went on to look at the grey areas of the metropolis without falling back on the cliched air-of-doom or tragic narrative - her's are more stories of resilience and dreams.
Working with photography, painting, collage, and a number of other mixed media, like metal and wood, Devidayal's work strives to convey a plethora of emotions and moods that could range from the celebratory to the contemplative. Her work for the MIAL project is anchored in the narrative of the migrant worker who has moved from the verdant village to the congested, concrete city in order to make a living.