Collection: Cityscapes

My ecology series explores the fragile relationship between nature and the rapidly transforming urban landscape. Through trees, cityscapes, horizons and changing natural environments, I reflect on coexistence, displacement and the need to reconnect with the living world around us. Using layered imagery and new-media techniques, the works create a visual dialogue between the organic and the constructed, inviting the viewer to pause and reconsider our responsibility towards nature.

An old but standing strong - complete stone wall showcasing the grey shades

The majestic Elephanta caves - show of light and shadows

A vibrant watercolor work capturing the warmth, rhythm, and quiet charm of everyday life.

My ecology series explores the fragile relationship between nature and the rapidly transforming urban landscape. Through trees, cityscapes, horizons and changing natural environments, I reflect on coexistence, displacement and the need to reconnect with the living world around us. Using layered imagery and new-media techniques, the works create a visual dialogue between the organic and the constructed, inviting the viewer to pause and reconsider our responsibility towards nature.

An orange building at Dadar TT

Chowk in Parel with old structure and sky scrappers in the backdrop

Monsoon Magic - capturing calm green colors

A Lazy afternoon vibes

Capturing the light and shadow on the faded walls of an old building

An Alley in south mumbai - capturing the morning light

Depicts the fading mumbai landscape in the forefront and the sky scrappers in the backdrop

Flora Fountain, a landmark that I pass by quite often. The fountain is surrounded by sculpted figures in different poses, and among all its sides, this particular view has always attracted me the most. I wanted to create a series of paintings based on how Flora Fountain appears at night, when the atmosphere feels quieter, cooler, and different from the day. The lights, the stillness of the monument, and its presence amidst the city create a mood that I find both beautiful and inspiring. Because I regularly pass through this area, the fountain has become a familiar part of my daily experience. Over time, I felt the desire to paint Flora Fountain as it appears at night. This painting is part of a series through which I hope to capture the different views and moods of the fountain after dark.

This is another view leading toward the CSMT ticket counter. Before this work, I painted the same spot from a different angle. During the process, I made several changes to the composition and added a few elements. I tried to keep the figures simple and less detailed so that the focus remains on the architecture. People keep coming and going through this space every day, while the structure remains unchanged. I wanted to highlight the lasting presence of the building against the constant movement of people. This spot at CSMT often catches my attention whenever I pass by. It otters many interesting views, and I plan to explore and paint more such frames as part of an ongoing series.

The architecture of Haji Ali Dargah offers many interesting and unique compositions. This was one of them. I don’t think I have ever painted a composition quite like this before, and that was exactly what attracted me to it. While working on this painting, I enjoyed the process a lot. The part I enjoyed the most was the lattice. In the past, I had painted green nets that looked somewhat similar, but I had never painted a marble lattice. It can feel challenging, especially in watercolour, but that challenge is also what makes it exciting. Once you understand the technique, painting such details becomes very enjoyable. As artists, we often tend to avoid subjects that look difficult. But many times, the real joy lies in taking on those challenges. I feel it’s important to keep looking for unique frames and compositions. It is not always necessary to paint every detail exactly as it appears; what matters is capturing the essence of the scene through your own visual language.

This scene was captured in the afternoon when the sunlight was quite strong. However, I didn’t want to paint the light as intensely as it appeared, so I chose to keep it softer and more muted. I also intentionally left out the figures, even though the place was quite crowded at the time. In another painting from the same location, I included the people, but for this work I was interested in exploring the stones, their textures, and the subtle colour variations within them. My goal wasn’t to make an exact copy of the scene. Instead, I wanted to redesign and interpret it in my own way, creating textures and marks that felt personal to the painting. Rather than focusing on every detail, I was interested in responding to the forms, rhythms, and surface qualities of the landscape.

I have often heard that the evenings at this place are very special. It is the time when the Mehfil-e-Sama takes place, which most of us know as qawwali. While these gatherings can be held on different occasions, many people speak of the unique atmosphere that surrounds the dargah in the evening. In these gatherings, famous qawwalis such as Chaap Tilak, Sakal Ban, and Rang are performed. Many of these compositions were written by Hazrat Amir Khusro for his spiritual guide and beloved mentor, Hazrat Nizamuddin Auliya. People come here for different reasons. Some are drawn by their love for Sufi traditions, some come in search of peace, while others share a personal faith and connection with the place. Yet each visitor arrives with their own intentions, memories, and affection for it. I cannot speak from personal experience, as I have not yet had the opportunity to visit this dargah. However, as an artist, two things have always attracted me to it—the art of qawwali and its beautiful architecture. I hope to visit one day and experience its atmosphere for myself. The evening views of the dargah, when the lights begin to glow, particularly fascinate me. This painting is based on a reference image, though I made several compositional changes to create a quieter and more contemplative mood.

This is a Karnataka landscape Used bright colour like a Indian yellow bright orange green Create human figure very well true seller worker helper shown beautiful I created in this painting very thick structure and very bad Colors scheme

This is a acrylic landscape Used yellow Indian yellow bright orange Unique composition and creative texture in this painting human figures expressions costumes typical Karnataka style Turbulence reflection on ground yellow colour scheme very unic experience for our eyes

The fruit seller used green and yellow turbulence and very well colour balance composition and workmanship