My artistic practice explores the dynamic intersection of painting, sculpture, and architectural space. The foundation of my work stems from a pivotal shift in my formal education: after completing my Bachelor’s degree in Painting at the Faculty of Fine Arts in Baroda, I pursued my Master’s degree in Sculpture in London RCA. This structural transition from painting to sculpture fundamentally reshaped how I view the canvas, driving me to treat the flat surface of a painting not as a static visual plane, but as a three-dimensional object to be built, layered, and sculpted.
Working through a deliberate process of heavy layering and material experimentation, I integrate unconventional elements with traditional painting mediums to construct surfaces that are visually striking and deeply tactile. Rather than confining my paintings strictly to the wall, I approach exhibition spaces holistically—frequently developing site-informed installations that extend onto floor planes or suspend from ceilings. By translating my sculptural mindset into spatial arrangements, I invite audiences to move through the artwork as an active, tactile environment.
Thematically, my inquiry often delves into subconscious spaces, interiority, and tactile memory. In series such as When you sleep, where do you go, I use vivid color contrasts and unexpected textural interruptions—most prominently electric blue fur—to evoke the fluid, elusive logic of dreamscapes and non-physical states.
“No matter which manner I travel—whether in my dreams or in living—I always look for the light of belongingness”.
My practice is an ongoing inquiry rather than a set of declarations, a way of posing unarticulated questions about memory, displacement, and the search for home. Rather than offering fixed answers, my work acts as a tactile threshold where internal geography and physical landscape meet, seeking the quiet spaces where human soulhood touches the earth.
At the core of my work is a synthesis of distant topographies. I weave together the sacred forests and ancient living heritage of my homeland in Meghalaya with the quiet, mythic landscapes of the English countryside—the dense, ancestral canopies of the New Forest, the shadowed paths of Brockenhurst, and the fairy sanctuary of Northwood. Through layered textiles, raw stitched assemblages, paint, and unexpected tactile textures, I merge these environments into hybrid sanctuaries. The act of stitching and layering becomes an act of reconciliation, binding disparate roots into a singular visual ecosystem.
Through this process, I work to preserve the sacred and unseen forces hidden within nature—a gentle reassertion of nature’s agency over human control. Despite modern perceptions of mastery over the natural world, my compositions center nature as an untamable, controlling force that continuously shapes human destiny and emotion.