Collection: Paintings

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

The Zoo brings together every subject from the series into a single imagined landscape. Each animal carries its own story, instinct, and relationship with the fly, creating a collective portrait of the many ways attention is experienced. More than a gathering of species, the work becomes a reflection on coexistence, perception, and the quiet significance of what is so often overlooked.

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

The four chimpanzees share the same space, but they do not share the same attention. Each is immersed in its own awareness,one confronts the viewer, another drifts inward, one becomes absorbed by the fly, while another appears untouched by it all. They are together, yet profoundly alone in what they perceive. The fly is almost invisible, yet it quietly alters the balance of the painting. It does not ask to be noticed; it simply exists. In doing so, it exposes something deeply human,that significance is rarely measured by size, but by the attention we choose to give it. The empty orange expanse is intentional. It removes every unnecessary distraction, allowing silence to become part of the work. Within that silence, the viewer becomes the fifth witness, completing the painting through their own act of observation.

I have always been fascinated by how easily attention can be redirected. In this work, a herd of buffalo occupies the canvas with all the weight and authority we instinctively associate with them. Yet their presence is quietly interrupted by a single fly. The fly does not challenge their strength; it simply asks to be noticed. That small shift is enough to change the entire composition. What first appears insignificant begins to hold the greatest visual weight, reminding me that importance is often created by attention rather than by scale or power.

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

Liminal Drift explores the fragile space between observation and memory, where landscapes gradually dissolve into atmosphere and emotion. Rooted in experiences gathered through travel across India and abroad, the series reflects an ongoing search for the essence of place rather than its physical description. Light, colour, and subtle architectural traces become vessels of memory, allowing familiar scenes to transform into contemplative, dreamlike spaces. Balancing the vibrant intensity of Indian landscapes with the quiet restraint of European environments, these paintings invite viewers to inhabit the threshold between the seen and the remembered, where presence lingers long after place fades.

Parora explores the beauty of selective perception. Cats, by their very nature, overlook the fly, yet the composition grants its minute presence equal significance. The expansive negative space becomes an active part of this visual language,not merely an emptiness, but a deliberate pause that isolates the subjects and heightens the tension between what is seen and what is overlooked. It gives the fly room to exist quietly, allowing its smallness to become more pronounced against the surrounding stillness. Parora celebrates the quiet poetry of ignorance,the overlooked becoming visible precisely because of the space that surrounds it.

The journey of becoming rarely begins with grand moments. It begins with noticing, following, and learning from the seemingly insignificant. In Safari, the bees are not the destination,they are the first lesson. Safari captures the beginning of instinct. As young lion cubs learn to hunt, their attention is drawn not by prey alone, but by the smallest movements around them. Every pursuit, no matter how insignificant, becomes part of the journey that shapes who they will become.

This work is inspired by the ceremonial beauty of decorated cattle, animals that naturally command admiration through their scale, ornamentation, and presence. Yet amidst these imposing figures, a small dragonfly quietly claims the viewer’s attention. The fly is not intended as an interruption, but as a reminder that significance is not always tied to grandeur. While the decorated cattle celebrate tradition, identity, and strength, the fly introduces a subtle shift in perception. It asks us to pause and notice what would otherwise be ignored.

A queen does not always announce her presence. Sometimes, she simply exists, and everything around her slows down. In Malkia, I wanted to move away from the familiar image of the lioness as a fierce hunter. Instead, I was drawn to her quieter nature,her curiosity, patience, and the calm confidence that comes with knowing her place. The fly interrupts this stillness, not as a nuisance, but as a gentle invitation to look closer. For a fleeting moment, the insignificant becomes impossible to ignore. The red surrounding the pride is not merely a background. It is an emotional space. It carries warmth, instinct, memory, tension, and life itself. Against this overwhelming field of colour, the lionesses appear suspended in a moment where nothing dramatic happens, yet everything feels alive. Malkia is a painting about quiet authority. It is about choosing observation over action, curiosity over certainty, and presence over performance. It reminds me that power is not always found in movement or dominance. Sometimes, it exists in the simple act of paying attention.

In thise painting I had tray to the 'Dead Space' transcends beyond mere background; it becomes a crowded landscape of memories, classical influences, and psychological stillness. The central figure exists in a state of quiet resilience, surrounded by the remnants of artistic history, representing the heavy yet poetic weight of the unsaid.

Shauku captures the instinctive pull of curiosity. Set against a vibrant orange expanse, two Dobermans, each with a distinct temperament, find themselves united by the presence of a single fly. One watches with measured concentration, while the other responds with unrestrained excitement. Though their expressions differ, their attention converges on the same insignificant subject. The generous field of empty space is not absence, but anticipation. It magnifies the invisible relationship between the fly and its observers, allowing the smallest presence to command the greatest significance.

In human forms investigates the resilience within solitude. 'Man-II' depicts the physical weight of existence, with the figure grounded on a gnarled tree trunk amidst raw textures and fragments of the past.explores psychological stillness, where deep shadows isolate the subject, representing a silent, meditative presence thriving within the void. In this works move beyond the figure, treating space as a profound repository of unspoken narratives and 'gentle numbness'.

He is a self-portrait, born from a deep exploration of existential anxiety and inner turmoil. The primary inspiration stems from the expressionist philosophy of Edvard Munch, particularly the emotional density of his masterpiece, ‘The Scream’. The distorted form, the unsettling contrast of primary colors, and the energetic, almost violent brushwork are used not to depict external reality, but to manifest an intensely raw psychological state. By placing myself as the subject within this chaotic 'Scream'-inspired void, I am capturing that split second when solitude transforms into an overpowering, resonant cry—a manifestation of the 'Dead Space' of the human spirit.

A cat and a dog, two animals that rarely ignore one another’s presence, are instead consumed by a shared curiosity. Their attention is drawn away from each other and toward two hovering flies, quietly shifting the balance of the composition. What appears insignificant becomes the force that connects them, questioning how attention shapes importance. The expansive negative space slows the act of looking, allowing the viewer to discover what first appears unimportant. By shifting focus away from the animals and toward the overlooked, the painting questions how significance is assigned.

This work uses the very same Olympia that was inspired by Édouard Manet’s painted Olympia. At that time, looking at the figure in the controversial Olympia, her gaze was deeply disturbing. I have tried to capture that same disturbing gaze here—but through closed eyes, which creates an impression of complete solitude. In this painting, it has been used as a metaphor.