I am fascinated by science, and my oeuvre lies in finding possibilities of combining and co-relating the disciplines of arts and science, bridging the gap between the two. 

My attempt is to integrate artistic practice with scientific techniques, leading my passion for science to transcend mere attraction to gadgetry and invention. These pose darker questions of contemporary life’s addictions and dependence upon machines and technology while bringing out the aesthetic and design elements through visually modish yet demiurgeous characters.

The works introduce the ‘android humans’, so automated and perfunctory that they seem to have lost out on the soul and life that characterizes being human. It is as if they live in oblivion between the real and the virtual, the self-performed and the mechanical.

Through these works, I intend to re-question the over dependence of the present-day society on technological advancement without parallel development in reasonable thinking. In this process, I am objectively putting forward a picture of how I see modern age life, leaving the rest up to the audience to perceive.

The explorations have manifested in various series, including Portraits that question the context of beauty in terms of internal and external realities; Electro-Sapiens that identify with modernity and resultant loss of intrinsic local cultures; the Electric Man who represents patriarchal society and investigates the balance between the genders; and the Amoeba series that articulates abstract aesthetics through the study of formlessness and transformative shape.

This was followed by a woodcut series on Text that talks about Negativity, Positivity and Comparison. In society it is very common to make unhealthy comparisons that generates negativity, something that feeds deeply from personal experiences.

As an artist I find being introduced to new landscapes and cultural experiences deeply motivating and rejuvenating to my practice. These journeys often result in what I call ‘diaries’ that translate different aspects and moments of synergy with my surroundings. Additionally, topographies, the act of mapping and constructing and erasing borders enters into my visual vocabulary.

Germany Diaries 2019: The local culture and festivals in Germany have inspired me very much. I particularly absorbed the innate traditional identity in Bavaria, and the festivals and traditional clothing from Allgäuer. There are ten drawings that I made visually articulating about the festivals.  They represent my experience and opinion on this subject filtered through my creativity.

Armenian Diaries 2019: In Armenia I made photography based art. I felt that the sculptures which are displayed in public spaces were animated and interactive. Most of them personify famous historical personalities like writers, scientists, musicians, actors, artists etc., created by different artists. I drew certain connections between them; they are huge and robust and showcase dynamism and motion. In imitating the movements and gestures of the sculptures, one can say I was following in the footsteps of larger than life personalities.

3D Drawings: It is possible for a viewer to experience a sense of elevation and descent if he/she follows lines that go upward and downward. It gives a feeling that you are hiking or climbing mountains. I got this inspiration from my trekking and climbing the mountains. Mountains can teach us about philosophies of life; climbing mountains does not mean that you always climb up. Sometimes you go down and climb up again to reach the top. Similarly, life has many ups and downs but still, we are in process of reaching our goals.

2018: Series of Discovered lines turned as maps, shapes, forms and boundaries:  I extended  the  materiality  of  the  print  medium  to  create  virtual  contours  and  linear graphs  that  map  imaginary  loci  and  places.  Relying on  scrunching  the  paper  as  a means  to  initiate  cathartic  release,  the  process  spontaneously  creates  dimensions beyond the surface of the plane. The accidental lines morph into unspecified shapes forms and maps allowing multiple readings – the markings could be representations of metaphorical sites or subconscious points of reference.  The material and the medium combine to form layers of meanings within conceptual maps.

Ongoing: Series of Maps, Borders & Places: Crumpled paper for me is a metaphor of the earth which doesn’t have a flat surface. There are hills, mountains, valleys; myriad up and downs. This art work conveys the truth about maps, borders and places. The lines are abstract; line itself has abstract narration and together with other lines it creates fictional maps or borders of unknown places. There are few crumpled lines left incomplete because I am yet to discover those maps or borders.

2020 – Life during COVID-19

2020- Armenian Diaries

2020-Couple Series

2020-Germany Diaries

2020-Indian series

2020-Series of Gandhiji and Modern Human

2020-Dark Land Series

2020-Series of Maps, Borders and Places


2013 Drawings and Paintings