How much is enough?
It is one of the oldest questions humanity has asked itself, yet one that feels more urgent than ever. We live in a world that rewards constant growth, endless productivity, and perpetual consumption, where every achievement quietly gives way to the desire for the next one. More success. More money. More attention. More possessions. More. More. More.
For Nishant, this endless pursuit became the foundation for The Disease of More, a body of work exploring the psychological tension between ambition and contentment. Rather than judging modern life from a distance, Nishant turns the lens inward. “I have this disease myself,” he admits. Across sixty nine individually drawn characters, he examines the contradictions we all carry: the desire to achieve while longing for simplicity, to consume while searching for meaning, to become more while wondering when enough will finally be enough.
How much is enough?
It is one of the oldest questions humanity has asked itself, yet one that feels more urgent than ever. We live in a world that rewards constant growth, endless productivity, and perpetual consumption, where every achievement quietly gives way to the desire for the next one. More success. More money. More attention. More possessions. More. More. More.
For Nishant, this endless pursuit became the foundation for The Disease of More, a body of work exploring the psychological tension between ambition and contentment. Rather than judging modern life from a distance, Nishant turns the lens inward. “I have this disease myself,” he admits. Across sixty nine individually drawn characters, he examines the contradictions we all carry: the desire to achieve while longing for simplicity, to consume while searching for meaning, to become more while wondering when enough will finally be enough.
Each figure is a different manifestation of that condition. Coffee, cigarettes, phones, suits, and fragmented faces are not decorative elements, but symbols of the systems that shape our daily lives. Every title captures another moment, another symptom, another reflection of the quiet restlessness that has become so familiar in contemporary culture.
Yet despite its title, The Disease of More is ultimately a collection about restraint. It represents the most refined expression of Nishant’s visual language to date, not because he added more, but because he learned what to remove. After years of developing this body of work, the collection marks the culmination of one chapter of his practice and the beginning of another. In doing so, it asks a question that extends beyond art itself:
What if fulfillment isn’t found by acquiring more, but by recognizing enough?
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