On-Location Plein Air Landscape Paintings

When I paint on-location, the environment dictates the result. Whether I am at the Goda Ghat or an ancient fort, the light shifts constantly, demanding decisive, quick strokes that studio work simply cannot replicate. You are not just getting a painting; you are getting a piece of the atmosphere exactly as it unfolded in that moment.

The Plein Air Process

Painting in the open air, or 'plein air', is my way of engaging directly with our country's history. It is a demanding process. I set up my easel in the middle of busy ghats, historic wadas, or quiet temples. I do not have the luxury of perfect studio lighting or climate control. Instead, I work with the sun, the wind, and the curious passersby. This urgency translates directly onto the canvas, giving the work a life that static studio paintings often lack.

Why Location Matters

My work often centers on Nashik and other culturally rich sites because these places have stories embedded in their architecture. When I paint the Goda Ghat, I am not just capturing stones and water. I am capturing the morning prayers, the movement of people, and the historical layers of the site. This is why my paintings were featured on the cover of the 'Godagaurav' coffee table book. The art connects the viewer to the heritage site.

Technical Approach

My primary mediums for on-location work are watercolour and acrylic.

• Watercolours: Best for capturing the fleeting, transparent light of morning or evening. It requires high speed and confidence, as there is little room for correction.
• Acrylics: I use these for more robust pieces where I need texture and vibrancy to capture the intensity of old stone architecture or the bright colours of a festive celebration.

If you are commissioning an on-location piece, expect a process that is as much about the experience of the venue as it is about the final artwork. I prefer to visit the site beforehand to understand its 'mood' before we begin the final rendering.