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An accomplished painter, sculptor, installation artist and filmmaker, Navjot has constantly pushed the boundaries of material and genre to express her social concerns. Both in their process of creation and in their subject, her sculptural work addresses issues of social injustice and religious violence in India through a unique feminine perspective. "In Navjot`s work political realism is re-defined to locate her own subjectivity within the warp... An accomplished painter, sculptor, installation artist and filmmaker, Navjot has constantly pushed the boundaries of material and genre to express her social concerns. Both in their process of creation and in their subject, her sculptural work addresses issues of social injustice and religious violence in India through a unique feminine perspective. "In Navjot`s work political realism is re-defined to locate her own subjectivity within the warp and woof of the human condition. In doing so she makes many crossovers to the woman’s terrain, the confined and often suppressed feminine situations" (Yvette Kumar ed., Indian Contemporary Art Post Independence, Vadehra Art Gallery Publications, 1997, p. 84).

Collaborating with tribal Bastar craftswomen from Central India in the creation of these pieces, Navjot has extended her creative process to the improvement of representation for these rural women, a traditionally marginalized group. Marrying the tradition of the sculpting process with the modernity of this undertaking, these provocative sculptures challenge existing power structures and social mores that lead to objectification and exploitation of women. "The roughly hewn but sensuous figures, painted with the colours of earth and blood…oscillate between the tribal totem, the ancient South American icon and the un-beautified but sumptuous real women. These women assert their timeless strength and rudimentary, genre-specific, generative roles that are enacted matter-of-fact but with dignity among patriarchal cruelties. Self-focused and mask-like, they ignore the objectifying male gaze" (Marta Jakimowicz, The Human Figure, Gallery Threshold exhibition catalogue, 2006, p. 26).

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