My work is an exploration of the self within and versus society. My paintings depict and question the conditioning that we subconsciously carry with us and how it informs our behaviour.
Creating has always been an inward journey for me. It is a way to visually articulate the questions that plague my mind. Through my art, I bring the private, the unmentionable, the unquestioned into the open and highlight the public scrutiny that’s constantly present in the personal.
My works are privy to my routine, characterised by its domesticity. As such, they reflect not just my moods and struggles but also of those they cohabit with. They take on a character of their own, unbound by style. The subjects drive the visual aesthetics as well as their physical interpretation.
The post-truth world of Sarv Satvik Rashtra intertwines ecological fissures, growing fascism and the overbearing frustration with the virtual only world. It invites users to interact with an imaginary food machine, the Atmanirbhar 2Q48, by asking them to pick their favourite dish. There is no correct choice in a world of errors, ambiguity and garishness, just like in life.
The ‘Trial Room’ series is sanitised with over-bright, retail-ey colours like a fashion store in a mall. The work used a combination of digital art and installation, providing the viewer with a hyperphysical experience.
Whereas the ‘Bad Mama’ series has childlike and free strokes to contextualise the subject and reveal the internal and external chaos of child rearing.
The “Lockdown 2020 Still Life” series articulates relationships with relatively inanimate objects and hopes to recreate the silence and stillness we all experienced while being captive indoors.
I think of my work as a momentary escape. The kaleidoscope of colours draw the viewers in to look beyond the surface. The intent is to provide the viewer with a moment of solidarity where they find themselves either identifying with the art or pondering a behaviour they have always taken for granted.