In the ever-evolving world of contemporary art, it is rare to find someone who stands as both a guardian of ancient tradition and an innovator of cultural expression. Vijayalakshmi Mohan Rangoli Artist, a name synonymous with dedication, artistry, and cultural preservation, embodies this beautiful balance. As a Guinness World Record holder and a passionate educator, her vibrant legacy of Rangoli art has not only transformed spaces but also lives, both in Singapore and across the globe.
Vijayalakshmi Mohan: From Trichy to Global Fame – A Journey Etched in Powdered Rice
Born and raised in Trichy, Tamil Nadu, Vijayalakshmi’s earliest memories are stitched together with the rhythmic motions of her mother’s hands sketching kolam—a white geometric Rangoli drawn at dawn. What began as a humble daily ritual soon bloomed into a life-defining passion. By the age of five, little Vijaya was already experimenting with patterns, unknowingly beginning a lifelong romance with this 5,000-year-old Indian folk art.
When she moved to Singapore in 1992, Rangoli came with her, not just in practice, but as an enduring symbol of cultural identity. Her natural flair, combined with an unwavering commitment, led her to participate in her first Rangoli competition in 1993. Though wind scattered her debut creation, it didn’t deter her spirit. Instead, it marked the beginning of a grand artistic voyage.
Painting a Nation with Patterns: Rangolis Across Singapore
Fast forward to today, Vijayalakshmi Mohan Rangoli Artist has created over 8,000 Rangolis across Singapore, spreading her intricate designs through community centers, schools, colleges, government institutions, and art museums. Some of her most iconic works have graced esteemed venues like the Esplanade, National Museums, and major international airlines such as Air India and British Airways.
Her talent has captivated dignitaries and leaders, with her Rangolis drawn in the presence of Singapore’s revered statesmen—President S.R. Nathan, President Dr. Tony Tan, Minister Mentor Mr. Lee Kuan Yew, and Prime Minister Mr. Lee Hsien Loong. With over 29 Singapore records under her belt, including titles for the largest and longest Rangolis and collaborative projects with the highest number of participants, her impact is undeniable.
Yet, her accolades are not confined to national borders. From Dubai to Mauritius, Vietnam to the USA, her international assignments have brought Indian floor art into the global limelight, making her not just a Singaporean icon but a cultural ambassador of India.
Vijayalakshmi Mohan: Art with a Heart – Therapy through Rangoli
Beyond aesthetics, Vijayalakshmi Mohan believes art heals. A certified art therapist and special educator, trained in Singapore, she has spent 15 years working with children with autism, trauma survivors, and the elderly. Whether helping tsunami-affected children in Sri Lanka or teaching in special schools in India, she uses Rangoli as a medium of expression and therapy.
Her voluntary work includes collaborations with organizations like the Institute of Mental Health, Singapore Girl’s Home, and elderly rehabilitation centers. At Cairnhill Community Centre, she voluntarily conducts Recreational Arts classes for special needs children, proving that her creativity is matched only by her compassion.
Preserving Tradition with Innovation: The Birth of Singa Rangoli
In 2015, Vijayalakshmi Mohan co-founded Singa Rangoli with her husband, N. Mohan. This initiative blended heritage with innovation—employing eco-friendly and accessible materials like pistachio shells, colored straws, and CDs to prove that “anyone can learn Rangoli.” The company not only takes commissions for festivals and events but also offers immersive workshops to teach the youth and public how to create Rangoli in both traditional and contemporary forms.
This evolution makes Rangoli more inclusive, interactive, and appealing to younger generations—exactly what Vijayalakshmi Mohan envisioned. Her motto is simple yet profound: “Rangoli is not just art. It is mindfulness, tradition, and joy combined in one stroke.”
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