Archive
Selected history
This archive brings together selected earlier works, experiments, and directions that still echo in my present practice. It is not a complete chronology. I see it as a way of looking back at how structure, repetition, observation, material, and what is left out have appeared in different forms over time.
Select an artwork to view details.
2015–16
These were some of the years when printmaking was teaching me how to think. I was working with relief, repetition, symbols, and planned compositions, often having to make decisions before the image could be printed. Looking back, I can see how much of that discipline stayed with me, even after the materials and subjects began to change.
2017–18
Structure became especially visible in these years. Printmaking, geometry, and constructed compositions appeared alongside works that were much quieter and more open. Looking back, I can see that one direction did not replace another. Very different impulses were happening at the same time.
I like bags as characters. They carry so much of a person without needing to show the person at all. Everyone leaves a part of themselves inside one. A bag can become a survival kit, a dependable companion, sometimes one of the few places where someone can be completely themselves.
Indradhanush came from another impulse in the same period: colour, geometry, and accumulation pushed almost to saturation. I had a strong pull towards geometry then, one I don’t feel in quite the same way now.
2021–22
Parshwanath and Devi Ambika were made side by side during one of my early encounters with Jain stone sculpture. I was drawn to Ambika for the weight and texture of the stone, and especially for the way she holds her body. Parshwanath attracted me differently. The image had the feeling of something found deep inside a cave, almost forgotten, mysterious and still somehow divine. Looking back, these works feel like the beginning of a much longer curiosity about stone sculptures and the lives and stories held within them.
Recent side paths
Process
Inside the sketchbook
Not every question begins as a painting. The sketchbook is where looking can remain unfinished, a place to repeat, test, misunderstand, notice, and move on.