Narrative & Thematic Works
My work serves as a medium for research, capturing stories from art camps across India. Through impasto techniques and symbolic narratives, I document the human condition and our shared history.
Working on an acrylic painting during a National Art Workshop in Pahalgam, Kashmir. This piece depicts the historical destruction of the Martand Sun Temple, exploring themes of cultural loss and resilience.
The large-scale historical painting, "Temple of Light: Martand’s Eternal Flame," nearing completion. The composition uses earthy and fiery tones to convey the tension and drama of the event.
This finished portrait of a Gujjar tribe child from Kashmir is a powerful example of my thematic work. It uses a vibrant background and expressive impasto to highlight the subject's innocence and the cultural narrative she represents.
Here I am with the finished painting "HOPE II" at a monsoon art camp in Lonavla. The piece, showing a young boy with his pigeons, is a meditation on childhood, nature, and hope.
A compilation from a long painting tour through Kerala. This video captures the spontaneity of creating art on the move, from painting portraits on a train to capturing landscapes and wildlife like elephants.
This short film provides insight into my artistic philosophy, "From Realism to Realism: A Journey Through Social Constructs." It explains how my experiences observing social inequality have shaped my work and my focus on the human condition.
About Narrative & Thematic Works
When I work on these narrative pieces, I am not just painting a scene; I am conducting visual research. Whether I am at a monsoon camp in Lonavla or documenting the history of the Martand Sun Temple in Kashmir, my goal is to translate complex human emotions and historical tensions into tactile, textured compositions. You will notice that my palette knife work is not just aesthetic—it is a tool to emphasize the struggle and resilience I observe in these subjects.
My narrative works are deeply rooted in my journeys across India, from the vibrant streets of Mumbai to the serene landscapes of Pahalgam. I believe that art must function as a witness to our times. When I approach a subject—be it a portrait of a Gujjar tribe child or the historical destruction of a temple—I look for the friction between the subject and their environment.
My signature impasto painting style plays a crucial role here. The heavy application of paint, manipulated with palette knives, creates a physical depth that mirrors the complexity of the stories I tell. It allows the painting to transcend the flat surface, inviting the viewer to feel the weight of history and the immediacy of the human condition.
I often prefer working on-site during art camps. Being in the environment where the story unfolds allows the energy of the location to bleed into the canvas. Whether I am using oils or acrylics, the process remains raw and unpredictable. These pieces are not merely decorative; they are artifacts of my exploration into social constructs and cultural heritage. If you are interested in acquiring these thematic works or commissioning a narrative piece that explores a specific history or concept, let us discuss how we can translate your vision into a textured visual language.
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