I work where the painting ends and the wall begins.
I began with a pencil and a great deal of patience. Years of classical sketching and drawing came first — before colour, before anything dimensional — simply the discipline of studying a subject until my hand could answer for it. I'm grateful for those slow years now; they gave me the foundation that everything else rests on.
I have always painted, and I still do — in oil, watercolour and charcoal. Over time, though, the flat surface began to feel limiting. I wanted real light on the work, not painted light. So I started building form in relief: sculpted by hand on a cement board, then painted, and finally installed on the wall it was made for. That is how the putty mural became my signature. Up close, you can read every ridge of depth; from across the room, it simply looks alive.
My subjects have stayed much the same, whatever the medium. I'm drawn to movement — a dancer mid-turn, an animal in full stride — and to folk and everyday Indian life, with all its ordinary warmth. Above all, I want to catch the human face in the moment it stops performing and truly feels something.
I make each piece for a single place. A commission begins with the room itself: how the light moves through the day, where people gather, what you want them to feel as they walk in. From there, I design from nothing — no template, no repetition. The finished panel is mounted on your wall and lit for that space alone. It belongs there and nowhere else, giving the room a signature of its own.