Collection: Paintings

Sisters This painting explores the quiet and enduring bond between two sisters through a language of symbolism and simplicity. Emerging from behind a monumental leaf, the sisters appear protected yet curious, suggesting the innocence of childhood and the security found in each other's presence. Their calm expressions and close proximity convey trust, companionship, and an unspoken emotional connection. The large textured leaf dominates the composition, functioning as both a shelter and a metaphor for nature's nurturing embrace. It symbolizes protection, growth, and the roots that keep relationships strong. In contrast to the richly textured leaf, the smooth monochromatic blue background creates a sense of stillness and serenity, allowing the figures and the leaf to become the focal point. The restrained blue palette evokes peace, introspection, and emotional depth, while the subtle lotus in the distance represents purity, hope, and the promise of inner strength. It celebrates the beauty of togetherness, reminding us that the strongest bonds are often expressed not through words, but through quiet presence, shared experiences, and unconditional care.

This painting explores a form of love that exists beyond words. A couple, gazing at one another, expresses emotion and intimacy through their eyes, while the absence of lips emphasizes the idea of silent love. The champa (plumeria) flower and leaves function as symbols of nature, with the offered flower—worn in the woman’s hair—representing tenderness, devotion, and a deepening bond. A restrained color palette, subtle textures, and a minimalist approach enhance the quiet emotional resonance of the work. Overall, the work captures a quiet moment of love—where words fall away and emotions begin to speak.

"PRAYER" 24"×36" Acrylic on Canvas Prayer explores the quiet, unspoken dialogue between the human spirit and the divine. The figure in the painting is shown without lips, symbolising a prayer that arises from within—silent, introspective, and beyond words. A leaf represents the divine presence, reflecting the artist’s belief in nature as a form of God, while flowers symbolise the many desires held within the human mind. Many flowers represent many human desires. From these, one flower is offered as an earnest plea for fulfilment. Rendered in a calm, restrained palette with minimal elements, the work reflects a minimalist approach and expresses the deep connection between human emotions and nature.

My painting features champa leaves, which symbolize life. Above the leaves, I have painted champa flowers to represent happiness, hope, and joy. Their placement at the top reflects the belief that we should always keep positive thoughts and good experiences above all else in life. Below the leaves, I have painted thorns, symbolizing sorrow, pain, and life's challenges. They are placed beneath to suggest that negativity should remain below us—acknowledged, but not allowed to dominate our thoughts or define our lives. Through this painting, I aim to express that life is a balance of both happiness and sorrow. While we cannot avoid either, we can choose to rise above the negative, embrace the positive, and move forward with hope and resilience.

“Flower Seller” 36” × 48” Acrylic on Canvas A woman sits with her eyes closed, surrounded by baskets of red, blue, and yellow flowers — her livelihood and daily means of survival. Set against dominant cool blue tones, the vibrant flowers gently interrupt the calm, symbolising hope, devotion, and quiet resilience within ordinary life. Though she has the faith to offer the flowers directly to God, selling them is her profession. She gathers them before her and silently prays that each one may be sold. Her lips are intentionally absent, representing a prayer that rises from within — unspoken, intimate, and deeply personal. Above her, a large leaf symbolizes the divine, expressing the belief that nature itself is sacred. Beneath it, she exists in the delicate space where livelihood and faith merge — where survival itself becomes a form of devotion.

Innocent Batu (Child Monk) series painting, handmade fan concept in this painting. Lord Shiva Tilak on his forehead.

Innocent Batu (Child Monk) series painting, ‘Celebration’ theme in this painting. Lord Shiva Tilak on his forehead.

Innocent Batu (Child Monk) series painting, including ‘Gayatri Mantra’ in Devnagari embossed calligraphy in the background. Lord Shiva Tilak on his forehead.

Blue Buddha with Lotus series painting, use painting knife texture for Lotus & leaves, rich looking contrast and depth in painting.

'Beautiful Lady' Leaf series painting, including some real Leaves in background for natural leaf texture. Mild contrast for soft look.

Blue Buddha with Lotus series painting, use painting knife texture for Lotus & leaves, rich looking contrast and depth in painting.

Innocent Batu (Child Monk) in leaf series painting, including banana leaves for create positivity in painting. Lord Shiva Tilak on his forehead.

Beautiful Blue series Buddha painting. Including different type of texture on full canvas and contrast colors for best result.

Calm Batu (Child Monk) flowers series painting, including ‘Gayatri Mantra’ in Devnagari embossed calligraphy in the background with white flowers.

Beautiful Lord Shree Ganesha series painting, including Shree Ganesha Stotra ‘Vakratund mahakai surykoti samaprabh…’ & ‘Gayatri Mantra’ in Devnagari embossed calligraphy in the background.

'Raan' - an ode to mother earth My visual art vocabulary has, through the years, been appreciated by many connoisseurs, and clientele alike. I have expressed it through a series of my sketches, paintings, and sculptures. This time around, I am displaying my works in a slightly different context. The accent this time stands inspired by the village folks, their dwellings, their farms, the crop harvest, and the elements of nature. Of course I have given them an appearance which would seem somewhat embellished, due to which I can project the aesthetic appeal I sense they possess. I am certain that the viewers will surely admire the amiability that lies within the paintings. In this series, the motivation behind my paintings comes from the title 'Raan' and all the contexts that derive from it. The word 'Raan' evokes great affection and is one that touches my inner feelings. I have since childhood lived and experienced the village life. There are many aspects of this rural life that strike a chord. For instance, the field, its pastures, the stones, boulders, the foliage, the flora; et al. I have grown up living among all these, in a natural ambience as it were. Obviously, farming is a motif that is so close to my heart. Today, although I lead a rather urban and civic life, there is no doubt that I would like to go back to farming sometime in the future. The childhood memories and experiences of everyone manifest themselves in their lives ahead. Farming as such, being entirely dependent on the vascillations of nature, is at the behest of elements such as the sunshine, the air and most importantly, the rains. Its varying moods affect goodly or badly depending on their intensity; consequently and crucially affecting the survival of the farmer. I have closely observed and experienced that this unpredictability does not affect as much any other constituent in the social strata, as it does the farmer. These vagaries of nature have coloured my life intensely. The core of my paintings hence has turned out to essentially be 'the pictures of a rural life and the farmer'. I have tried to impress in my paintings, the apparent seasonal changes in nature, and thereby, the changing hue of the soil. This shift in the hues of the soil mesmerizes me, and has influenced in developing the colour scheme of my works in this series. The style of my paintings and sculpture, with a certain tonal brightness, ought to be pretty familiar to my viewers. In the current display though, the colours are derived from influences such as the village turf, soil; with all its hues and textures. I eagerly hope that this transformation in the colour scheme will definitely connect with my viewers. I find myself always inclined to project in my works, human figures involved in their simple daily acts, with the backdrop of nature. There is a modesty, a cadence in the actions of these human activities, and a grace in the elements of human life, which I have aspired to portray in my current exhibition. I sincerely desire, that you will connect pleasantly and whole heartedly with the glimpses of glorious memories of my life in a hamlet. Anand Panchal

*Raan'-an ode to mother earth My visual art vocabulary has, through the years, been appreciated by many connoisseurs, and clientele alike. I have expressed it through a series of my sketches, paintings, and sculptures. This time around, lam displaying my works in a slightly different context. The accent this time stands inspired by the village folks, their dwellings, their farms, the crop harvest, and the elements of nature. Of course have given them an appearance which would seem somewhat embellished, due to which I can project the aesthetic appeal I sense they possess. I am certain that the viewers will surely admire the amiability that lies within the paintings. In this series, the motivation behind my paintings comes from the title " Raan' and all the contexts that derive from it. The word 'Raan' evokes great affection and is one that touches my inner feelings. I have since childhood lived and experienced the village life. There are many aspects of this rural life that strike a chord. For instance, the field, its pastures, the stones, boulders, the foliage, the flora; et al. I have grown up living among all these, in a natural ambience as it were. Obviously, farming is a motif that is so close to my heart. Today, although I lead a rather urban and civic life. there is no doubt that I would like to go back to farming sometime in the future. The childhood memories and experiences of everyone manifest themselves in their lives ahead. Farming as such, being entirely dependent on the vascillations of nature, is at the behest of elements such as the sunshine, the air and most importanly, the rains. Its varying moods affect goodly or badly depending on their intensity: consequently and crucially affecting the survival of the farmer. I have closely observed and experienced that this unpredictability does not affect as much any other constituent in the social strata, as it does the farmer. These vagaries of nature have coloured my life intensely. The core of my paintings hence has turned out to essentially be 'the pictures of a rural life and the farmer" I have tried to impress in my paintings, the apparent seasonal changes in nature, and thereby, the changing hue of the soil. This shift in the hues of the soil mesmerizes me, and has influenced in developing the colour scheme of my works in this series. The style of my paintings and sculpture, with a certain tonal brightness, ought to be pretty familiar to my viewers. In the current display though, the colours are derived from influences such as the village turf, soil; with all its hues and textures. I eagerly hope that this transformation in the colour scheme will definitely connect with my viewers. I find myself always inclined to project in my works, human figures involved in their simple daily acts, with the backdrop of nature. There is a modesty, a cadence in the actions of these human activities, and a grace in the elements of human life, which I have aspired to portray in my current exhibition. I sincerely desire, that you will connect pleasantly and whole heartedly with the glimpses of glorious memories of my life in a hamlet. Anand

*Raan'-an ode to mother earth My visual art vocabulary has, through the years, been appreciated by many connoisseurs, and clientele alike. I have expressed it through a series of my sketches, paintings, and sculptures. This time around, lam displaying my works in a slightly different context. The accent this time stands inspired by the village folks, their dwellings, their farms, the crop harvest, and the elements of nature. Of course have given them an appearance which would seem somewhat embellished, due to which I can project the aesthetic appeal I sense they possess. I am certain that the viewers will surely admire the amiability that lies within the paintings. In this series, the motivation behind my paintings comes from the title " Raan' and all the contexts that derive from it. The word 'Raan' evokes great affection and is one that touches my inner feelings. I have since childhood lived and experienced the village life. There are many aspects of this rural life that strike a chord. For instance, the field, its pastures, the stones, boulders, the foliage, the flora; et al. I have grown up living among all these, in a natural ambience as it were. Obviously, farming is a motif that is so close to my heart. Today, although I lead a rather urban and civic life. there is no doubt that I would like to go back to farming sometime in the future. The childhood memories and experiences of everyone manifest themselves in their lives ahead. Farming as such, being entirely dependent on the vascillations of nature, is at the behest of elements such as the sunshine, the air and most importanly, the rains. Its varying moods affect goodly or badly depending on their intensity: consequently and crucially affecting the survival of the farmer. I have closely observed and experienced that this unpredictability does not affect as much any other constituent in the social strata, as it does the farmer. These vagaries of nature have coloured my life intensely. The core of my paintings hence has turned out to essentially be 'the pictures of a rural life and the farmer" I have tried to impress in my paintings, the apparent seasonal changes in nature, and thereby, the changing hue of the soil. This shift in the hues of the soil mesmerizes me, and has influenced in developing the colour scheme of my works in this series. The style of my paintings and sculpture, with a certain tonal brightness, ought to be pretty familiar to my viewers. In the current display though, the colours are derived from influences such as the village turf, soil; with all its hues and textures. I eagerly hope that this transformation in the colour scheme will definitely connect with my viewers. I find myself always inclined to project in my works, human figures involved in their simple daily acts, with the backdrop of nature. There is a modesty, a cadence in the actions of these human activities, and a grace in the elements of human life, which I have aspired to portray in my current exhibition. I sincerely desire, that you will connect pleasantly and whole heartedly with the glimpses of glorious memories of my life in a hamlet. Anand

*Raan'-an ode to mother earth My visual art vocabulary has, through the years, been appreciated by many connoisseurs, and clientele alike. I have expressed it through a series of my sketches, paintings, and sculptures. This time around, lam displaying my works in a slightly different context. The accent this time stands inspired by the village folks, their dwellings, their farms, the crop harvest, and the elements of nature. Of course have given them an appearance which would seem somewhat embellished, due to which I can project the aesthetic appeal I sense they possess. I am certain that the viewers will surely admire the amiability that lies within the paintings. In this series, the motivation behind my paintings comes from the title " Raan' and all the contexts that derive from it. The word 'Raan' evokes great affection and is one that touches my inner feelings. I have since childhood lived and experienced the village life. There are many aspects of this rural life that strike a chord. For instance, the field, its pastures, the stones, boulders, the foliage, the flora; et al. I have grown up living among all these, in a natural ambience as it were. Obviously, farming is a motif that is so close to my heart. Today, although I lead a rather urban and civic life. there is no doubt that I would like to go back to farming sometime in the future. The childhood memories and experiences of everyone manifest themselves in their lives ahead. Farming as such, being entirely dependent on the vascillations of nature, is at the behest of elements such as the sunshine, the air and most importanly, the rains. Its varying moods affect goodly or badly depending on their intensity: consequently and crucially affecting the survival of the farmer. I have closely observed and experienced that this unpredictability does not affect as much any other constituent in the social strata, as it does the farmer. These vagaries of nature have coloured my life intensely. The core of my paintings hence has turned out to essentially be 'the pictures of a rural life and the farmer" I have tried to impress in my paintings, the apparent seasonal changes in nature, and thereby, the changing hue of the soil. This shift in the hues of the soil mesmerizes me, and has influenced in developing the colour scheme of my works in this series. The style of my paintings and sculpture, with a certain tonal brightness, ought to be pretty familiar to my viewers. In the current display though, the colours are derived from influences such as the village turf, soil; with all its hues and textures. I eagerly hope that this transformation in the colour scheme will definitely connect with my viewers. I find myself always inclined to project in my works, human figures involved in their simple daily acts, with the backdrop of nature. There is a modesty, a cadence in the actions of these human activities, and a grace in the elements of human life, which I have aspired to portray in my current exhibition. I sincerely desire, that you will connect pleasantly and whole heartedly with the glimpses of glorious memories of my life in a hamlet. Anand

https://drive.google.com/file/d/1nV7fM4H_pRsV5PziuFiFuXTptmT4MT_3/view?usp=drivesdk