Her mixed-media works echo both devotion and desecration. In The New Manthan, a sea turtle journeys across swirling waters as serpents and sea creatures maneuver through surreal mounds of plastic refuse, evoking a world where mythology reels under man-made disaster. In A School of Fish, glistening silver bodies twist among disposable bottles, locked in a frantic dance for survival. Sanghani’s artistic technique—lush, overflowing, almost seductive—draws viewers closer before confronting them with the brutality beneath.

That brutality is not merely imagined. In a haunting set of personal experiments, Sanghani submerged herself in water with her face encased in plastic, attempting to inhabit the suffocating reality of marine creatures trapped in debris. “I became their voice,” she says. The image is devastating: a human being tasting the terror we force upon the ocean’s inhabitants daily.

“Art cannot clean the oceans,” Sanghani notes, “but it can remind us of what they mean to us.” Manthan thus becomes a moral mirror. Each work elicits questions long buried beneath convenience and complacency. What are we taking from the ocean? What are we giving back? And what will surface next if we do not intervene?

“I want to draw viewers in with beauty, only to expose the underlying unease,” she says. Manthan urges every visitor to face that discomfort, beginning their own inner churning toward awareness, responsibility, and renewal.