The Meera

A painting of Meera Bai — capturing the devotion and quiet defiance that defined her. Featured at Kala Vithika Art Exhibition, Gwalior (2018), my first time seeing my work on a wall.

Nature Study

These sketches started with a simple intention — to look more carefully at the natural world. Leaves, wingspans, petals in mid-fold. The more closely I drew, the more I noticed. What began as observation became conversation, and what began as practice became a collection of quiet, careful studies drawn entirely by hand.

Perspective Study

Buildings have a way of collapsing into the horizon if you look at them long enough. These sketches were an attempt to understand that collapse, to follow the lines of a structure as they converge, to find the vanishing point and work backwards from it. Eye-level, ant’s-eye, one-point, two-point. The grid as a starting point. The drawing as the discovery.

Still Life

There is something quietly radical about drawing what is already still. No movement to chase, no moment to catch, only the slow negotiation between what the light does and what you were certain it would do. These sketches began with arrangement, fabric draped, fruit placed, surfaces curved into position, and ended with something closer to surrender. You set up the scene. The light decides the rest.

Textile Print

Surface pattern work rooted in the hand — motifs drawn, carved into wood, pressed into fabric. Flamingos translated into repeating prints that tile with a rhythm you can almost hear. Part design exercise, part craft experiment, entirely about the satisfaction of a pattern that works both up close and from a distance.