From A Ramachandran to Riyas Komu, from V Viswanadhan to Bose Krishnamachari, south Indian artists have searched for havens in metros elsewhere — and soon found a market. But there have been others who refused to step beyond the Vindhyas. Now south Indian galleries are trying to bring their work to Mumbai and Delhi where red dots find their way to canvases before the first wines are swigged on the opening day.

“We don’t want young artists to lose out because they are away from Delhi and Mumbai. The two cities have a number of art connoisseurs and investors who cannot be ignored,” says Meena Dadha, owner of Chennai-based Prakrit Arts Gallery. She has organised a solo show of Raju Durshettiwar, an artist from Cholamandal Village, which is currently on at the Capital’s Academy of Fine Arts and Literature.

“This is my first solo show in Delhi and I hope people appreciate the abstracts,” says Dadha. A slightly nervous Durshettiwar adds: “I have been exhibiting in the South for a while but displaying in Delhi is different. The city is bustling with art and people are very aware.”

In July, Apparao Galleries held Specially South, a preview of its online auction, in Delhi. Jaya Mani, owner of Bangalore-based Gallery Dravidam, is another familiar face in the capital. Her show, Mother Tongue: Visions from the South that exhibited works of Ramesh Gorjala, Vijaya Hagargundgi, Sadaanandan and Suresh Muthukulam at the Visual Arts Gallery in April, was a success, and she already has three exhibitions planned in Delhi next year.

“Exhibiting in Delhi and Mumbai certainly works well for younger artists. Not only do they get exposure, but their portfolio also becomes more impressive,” says Mani.

While people in southern cities are just beginning to spend money on art, Delhiites are more than willing to loosen the purse strings. Vijayalakshmi Nagashwaran, proprietor of Chennai’s Vinnyasa Premier Art Gallery, who organised a group show Mapping the South in Delhi, says, “Bangalore does have its set of art patrons and Chennai is catching up, but there is still a little apprehension about investing in art.”

The North, meanwhile, is learning to appreciate the grand southern canvas. “Earlier they did not welcome young talent,” says Nagashwaran, “but now people are keen to know more. Some fond buyers even fly down and visit our gallery to purchase works, which was not the case till a few years ago.”

If the artists don’t travel, then these galleries ensure that their art does —and that the red dots follow.