Valay Shende, a video artist and sculptor whose work focuses on the troubles plaguing contemporary urban society and its members, was born in Nagpur in 1980. In 2000, he received his diploma in art teaching in Nagpur and then went on to train at the Sir J.J. School of Art in Mumbai, from which he graduated with a BFA in sculpture in 2004. Shende later In 2006, he completed an artist residency at the Open Air Programme, Point Ephemere, in Paris.

Valay's sculptures stand out by their sheer weight both in physical sense. Bhaiya Indian, a six foot copper-plated fiberglass sculpture of a security guard, is a case in point. The natural bearing of the protagonist takes curious twists when the viewer recognizes that he has not two but eight arms! While the predictable rifle is held passively in one of the head, others carry the burden of an iron box, a stethoscope, a tea kettle, a dead fish and a mason's plastering implement. More surprises are in store: the guard's spinal cord is exposed in the rear, with a set of moving wheels and gear attached to it; this would make the arms move when connected to an electric point. The whole setup is natural as it is intriguing. The message too is loud and clear, particularly when one sees that the watchman is bare save for the slender underwear wrapped around his waist and a sturdy uniform cap dangling on his head.

Valay completed his BFA in sculpture with first class from Sir JJ school of Art in 2004 and participated in an artist residency program at Point Ephemera in Paris. Among others, he has exhibited at Havana Biennale, 'Bombay Maximum City' at Lille3000, and 'Made by Indians' at St Tropez Beach in France. The 26-year old Mumbai based sculptor admits that the deeply sinful nature of the world and everyday vagaries of city life affect and get reflected in his work.

He ambitiously feels that the middle path propounded by Buddha is the right solution to our troubled times. Buddha features in two of his works prominently. The first one bears the little The Holy Father and shows a ninety-four inches marble fiberglass statue of the enlightened one astride a speeding stallion. The calm face of the strider contrasts with the severely dynamic animal whose front legs are high up in the air. The sparkling white sculpture not only brings out the energetic nuances of the subjects but also the handiness of the sculptor.

Buddha Right, Mark Wrong is yet another forceful work in which Valay's skill, craftsmanship and contemplation find expression. It is a two-piece exhibit- one featuring a car and other, the statue of Buddha who is trying to stop it from moving further. The car itself is a brilliant construct with dozens of mental logos of multinational companies embossed on its outer cover. The seat, made of foam and covered by resin has currencies of servable nations imprinted on it. The car is Pierced with Red, communist symbols i.e. sickle and hammer and the tall, Gold plated Buddha stands with a calm face but clearly a remonstrative pose.

Valay's dexterity and proficiency come through in other pieces as well. 'Dead' is a mirror/glass/goat fur/fiberglass sculpture coated with striking commentary on different religions and their failure to lift the life and spirit of the common man. In another work, Valay shambles even as an icon of sorrow sits on them with sadistic pleasure.

Gun of Counter Revolution shows a firearm with two barrels in opposite direction subtly suggesting that the killer too can get killed embossed metal discs showing religious symbols on the nickel on the plated image adds its own silent story as to how the victor can become.

Valay's works are subtle ways his attempts to question the maladies affecting urban society and humans today. He is a keen and sensitive observer of his surroundings and concerned about the common man's trial and tribulation of day-to-day life . He feels an artist to the society and firmly believes an ideal world can be re-created. He wishes the audience to upon the issues plaguing man today. Valay Primarily creates video work and sculptural installations. His observations and feelings set off the production of his work and hence determine the choice of media.