Neeta Madahar received her MFA from the Museum School at the Boston Museum of Fine Arts in 2003. As a British citizen of Indian descent who has lived and worked in the U.S., Madahar constantly refers to themes of migration and transition throughout her work. She has exhibited international and has been awarded commissions from organizations including FACT (Foundation for Art and Creative Technology), Film and Video Umbrella, Harewood House and Photoworks. She has been featured in publications including The New York Times, Aesthetica, Aperture magazine, the Boston Globe and Time Out: London.
Madahar's thesis project entitled Sustenance gained immediate interest and was shown at the Arles Festival curated by Martin Parr in 2005, followed by shows in Boston, London, and Germany. In this project, Madahar examines the complexities of the domestic environment through her exploration of the various bird species that gather to feed at her home in Framingham, Massachusetts. Using a large-format camera, Madahar juxtaposes contrasting ideas of familiarity and strangeness, belonging and migration, and prolonged routine and repetition.
Madahar continued to work with nature in her second project Falling (2005), tapping into associations with childhood and dreamlike states of the imagination as she documents the each stage of the flight and landing of a sycamore leaf.
In her next series, Cosmoses (2005-2007), Madahar built on several ideas explored in Sustenance and Falling, investigating the ambiguity between what is real or found as opposed to what is constructed as she emphasized the interplay between repetition and chance and the transformational journeys of nature and time. The series consists of large-scale photograms of origami cosmos flowers. In her most recent project, Flora, Madahar portrays various women enveloped in flower arrangements, creating an empowering satire of the patriarchal associations of nature with femininity.