I am a Tailor
I weave a story.

I am a tailor,
I stitch the voices of people.
I am a tailor,
I sew the struggles of labor.
I am a tailor,
I hem the dreams of youth.

I am a tailor,
I mend the journeys of migrants.
I am a tailor,
I thread the hopes of my community.
I am a tailor,
I patch the wounds of the marginalized.

I am a tailor,
I measure the borders we cross.
I am a tailor,
I fasten the ties of connection.
I am a tailor,
I craft the fabric of life.

I am a tailor,
I embroider the soul of a nation.
I am a tailor,
I sew the stories of those used and unseen.
I am a tailor,
I stitch together what others tear apart.

I am a tailor,
I tailor to transform.
I am a tailor,
I knit to unite the world as one.
I am a tailor,
I stitch to heal.

I am a tailor,
And I tell the story of the thread.

About Me

“25 years in contemporary art—shaping visions, breaking boundaries, and redefining expression as a multidisciplinary visual artist and curator in Nepal.”




Manish Lal Shrestha is a multidimensional visual artist, Curator based in Kathmandu, Nepal. He Graduated from Sir J J School of Fine Art, Mumbai in 2001. Shrestha started his own unique style in which he uses contemporary motifs since his early period. He is well received visual artist who led the postmodern movement of Nepal that was nascent in early 2000. He had 19 solo exhibitions, several workshops and residencies internationally in Holland, Switzerland, France, Pakistan, Sri Lanka, India, USA, South Korea, Taiwan, China and Nepal. He was also part of Kathmandu Triennale 2017, Nepal, Busan Biennale Sea Art Festival 2019, South Korea, the 4thToday’s Documents 2019, A Stitch in Time, Today Art Museum, Beijing China, Reimagine: Himalayan Art Now, Rubin Museum of Arts, New York City 2024 & Wrightwood 659 in Chicago 2025 to name a few important participation. He has several awards to his name including the National Fine Arts award (2011), from Nepal Academy of Fine Arts, Australian Himalayan Art Award 2018. In addition, he is Founder Director/ Curator of Gallery Mcube which promote and support contemporary art through various programs including AIR_MCUBE international Artists’ Residency and exchanges, curatorial exhibitions and collaboration. He curated several art events in Nepal and aboard including Himalayan Art Festival 2018, Nepal Art Council, National Exhibition of Fine Arts 2021 at NAFA, Nepal, IPEP India, International Print Exchange Program India 2022 and also co-curated First Yanjiao Biennale 2020, China. He also curated international experimental video art project” Made in Mind series II” in 2019.

Vertical Wave

site specific installation,
Busan Biennale Sea Art Festival 2019

Vertical Wave is a 108-meter-Long Tapestry for which 1500 used clothes collected from the citizens of Busan are stitched together with threads and needles. Main material of the piece “old clothes” are the metaphoric object that holds people’s personal history, emotional milieu, aura, beauty and they are the symbol for the chronological history of development of human societies.

Connecting the used clothes means to connect mankind for Shrestha. Through Vertical Wave ha offers an opportunity for the audience to connect scattered stories of the individuals pass their emotional values and share histories breaking national barriers in the long run. Also, he pays attention to the site-specificity of the border where the beach and the large park meet.

Starting from a tree in the park, his tapestry grows to wrap around surrounding trees to make arch shape and continue to grow toward the sea, Shrestha’ Act of generating interaction between man and the nature reminds us of what kind of viewpoint we must have on the matter of ecology of contemporary society.

Project 1336

wool, cotton
Today Art Museum for the 4th documents Stitch in time

Project 1336 is a community-based art initiative that brings together the diverse people of Kathmandu, especially women and youth, to create a collective artistic experience. The project focuses on the stories of those living in the narrow lanes of the Kathmandu Valley—spaces filled with hope, dreams, struggles, and resilience. Life here, much like the winding lanes, is never straightforward. It’s full of twists, turns, and unexpected connections, and this is the essence of Project 1336.
The heart of the project lies in the act of knitting. I envision women gathering in small courtyards, knitting together with their neighbors, while sharing the stories of their lives—both the joys and the hardships. In this way, the threads of their lives become intertwined in the fabric they create, symbolizing the ongoing journey of the people in the valley. The act of knitting is more than just a craft; it’s a metaphor for life itself—chaotic, hopeful, and ever-evolving, much like the lanes of Kathmandu.
This project is not just about creating a piece of art; it’s about creating a shared experience. The installation itself becomes a work of art in progress, evolving through the participation of those involved. It’s spontaneous, performative, interactive, playful, and intricate—much like the city of Kathmandu. The project is also symbolic, connecting the city to a sea level elevation of 1336 meters, highlighting the resilience of its people who continue to live with dignity despite the many challenges they face. Even after the devastation of the 2015 earthquake, the people of the valley are rebuilding their lives, filled with both sorrow and hope, just like the interplay of light and shadow in the lanes.
During the exhibition, the installation will be a dynamic space, where children and youth can interact, play, and engage with the art. This active participation reflects the vitality of Kathmandu and its people, who, despite the struggles they face, continue to hold onto their hopes and dreams.
The city of Kathmandu, like any place, is built by the efforts of countless individuals. There is a deep involvement of many—from the laborers to the creatives—who work together to make the city what it is. Through this exhibition, I aim to highlight the importance of local labor and the value of the native opportunities that are often overlooked. Many young people leave the country in search of a better future, but this project is a reminder that creative energy and innovation can generate sustainable opportunities within our own community, providing a sense of emotional justice and fulfillment.
Art, at its core, should touch lives. On April 9, 2017, Project 1336 culminated in a public procession from Nepal Art Council to Maitighar Mandala. Maitighar Mandala has traditionally been a space for political agitation, but now, through this project, it becomes a space for creative expression and community-building. Kathmandu, as a city, is not always friendly to its inhabitants—particularly children—but this project aims to change that. By introducing playful and vibrant elements into public spaces, we can create an environment where hope and dreams can thrive, especially for future generations.
The softness and interactive nature of the work invite engagement from all ages, creating a friendly, welcoming space for children and youth. The public procession was a performative event meant to inspire and encourage the people of Kathmandu. It was also a tribute to the resilience of the arts and culture of the Kathmandu Valley, which was so deeply affected by the 2015 earthquake.
The exhibition continued with a presentation at Taragaon Museum, followed by a kora (circumambulation) at Boudhanath Stupa, and then moved to Today Art Museum for the Stitch in Time exhibition as part of the 4th Today’s Documents series. The procession also made its way to Patan Durbar Square, completing the journey of this living, evolving project.
Project 1336 is not just an exhibition; it’s a celebration of life, of community, and of the intricate, interconnected threads that bind us all together.

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