Laxman Aelay (b. 1965) emerges as a distinguished figure in Indian art, deeply rooted in the Nalgonda district of Andhra Pradesh and later Hyderabad. His creativity is profoundly shaped by his early years in the village of Kadirenigudem, now part of Telangana. Aelay’s canvases are a heartfelt homage to village life, portraying its simplicity and struggles with a tender yet vivid brush.

Starting humbly as a signboard painter, Aelay gained prominence within the Telugu literary circle through evocative book designs and illustrations. His transition to the canvas birthed pulsating, quasi-realistic paintings that resonate with both apprehension and nostalgia. His depictions of men and women in traditional Telangana attire are a testament to their enduring cultural identity. Bold and figurative, his evolving art remains anchored in themes of rural life and community, marked by a dynamic shift in format and scale. These expansive, hyperrealistic portraits of street performers, itinerant bards, and everyday folk eloquently narrate the plights of marginalized communities. The interplay of black, white, and grey against vibrant backgrounds creates a dramatic contrast that is quintessentially Aelay. In the 'Song of the Village' series, the realistic and colorful depictions of village life, adorned with intricate details of jewelry, traditional attire, and flora, are set against textured, sober backdrops, enhancing their vividness. His latest 'Poolamma Series' delves into hyperrealism with bold hues and striking backgrounds, producing visually arresting works.

Aelay's academic pursuits reflect his unwavering dedication to art. After earning a Bachelor of Commerce, his passion led him to a BA and a Master's in Painting from Jawaharlal Nehru Technological University College of Fine Arts and Jawaharlal Nehru Architecture and Fine Arts University in Hyderabad. He later earned a PhD from The English and Foreign Languages University. Throughout his illustrious career, Aelay has participated in numerous significant exhibitions and art camps, both in India and internationally. His inaugural solo exhibition in the 1990s, ‘Images of Kadirenigudem,’ showcased his distinctive visual language portraying Telangana life. His recent solo show at Jehangir Art Gallery, Mumbai, titled ‘Fellow Travellers,’ is a masterclass in portraiture, interwoven with motifs from folk arts like Nakashi, Kalamkari, and Paithan, solidifying his place as a chronicler of rural Indian life through a contemporary lens.