Rather than the rigid geometry of a spreadsheet, the artwork captures the kinetic energy of commerce. The central surge of green mirrors a sustained uptrend, while the surrounding deep blues and fiery reds represent the friction and volatility inherent in every trade. Hoping this one carries some good energy, and maybe a bull run or two.

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I painted a lot of this with a palette knife which means a lot of it was instinct. You can’t be too precious with a palette knife. The city that came out is blocky and imperfect and I think that’s what I actually wanted even if I couldn’t have said so at the start.

The water at the bottom is my favourite part. It holds the whole thing together without really trying to. It just receives whatever falls into it and makes something quieter out of it. I don’t know if this painting is about a place or a feeling. Probably both. Probably neither. I’ll let you decide.

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The exhibition featured a wide variety of works, from more abstract pieces to paintings inspired by nature and spirituality. It was an honour to have the exhibition inaugurated by Sharad Pawar, a moment that added a quiet sense of recognition to this personal journey.

What truly made the experience unforgettable was the joy of seeing strangers connect with my work. Watching people pause, smile, and linger in front of a painting, it was something else entirely. Each reaction, each conversation, made the space feel alive and reminded me why I create.

Here’s to more exhibitions in the future.

So if you’re in the market for a custom pair, you know who to call.

Over the last few years, I’ve come back to it again and again. It keeps offering something new each time. I’m sharing a few of my favourite pieces here.

This one is far more abstract compared to my other pieces. I’ve played around with the palette, the surroundings, and the atmosphere to push it beyond a literal view.

Here is another one, inspired of course by Vincent Van Gogh, While there are various interpretations, I've always thought of the sky in Starry Night to signify hope, and this painting is an attempt to integrate that sense of hope with the magic of Kedarnath.

This one was an experiment where I tried integrating Shiva directly into the composition. Instead of keeping the temple and mountains as separate elements, I wanted to bring the divine presence into the structure itself, almost as if the temple and the deity are inseparable.

The four above are far less abstract, more about capturing the beauty of Kedarnath at different times of the year. The light, the colors, the atmosphere as it shifts with the seasons.

I could go on, but you probably get the idea. It’s a place that keeps pulling me back, on canvas if not in person. So if you’re in the market for something that carries a bit of that quiet, shifting magic, you know where to find me.

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I placed a series of tiny three-inch paintings inside and arranged them carefully along the walls. Then I added a few action figures standing quietly in the space, as if they had wandered in to contemplate the work. And just like that - voilà. A gallery.

The whole experience reminded me that art doesn’t always need large walls or grand settings. Sometimes all it takes is a small space, a bit of imagination, and a few very patient action figures

Oh, and here’s another gallery of mine, inside a sneaker box.

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Both of these paintings were inspired by the song Country Roads and its quiet longing for winding paths that feel both familiar and full of possibility.

Leafy Lane, wrapped in layers of green, features a scale model of a 1986 Porsche placed directly onto the canvas, transforming the landscape into a meeting point of painting and object. Kaleidoscope Lane is free of vehicles, allowing the road and the colorful trees to take center stage.

Together, the two pieces explore different expressions of the same idea. Both celebrate the romance of the open road. And they both are available to purchase.

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Thanks for reading.

In these pieces, I used impasto specifically in the sky, which adds a different texture and feel to the art. I hope this technique invites viewers to engage more deeply with the paintings and feel the energy and beauty of both the athletic movements and the skies above.

And just for a bit of fun, I decided to extend this art on different mediums. Hope you like it!

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Lord Krishna is almost always depicted with a flute. It’s one of those images that feels fixed in cultural memory. You see the silhouette and you already hear the music.

So I started wondering what would happen if you changed just one variable. What if the flute became a guitar? Or a piano?

The interesting thing is that the symbolism shifts, but the essence doesn’t. The instrument is modern. Familiar. Accessible. But the posture, the ease, the quiet magnetism remain the same. It suggests that maybe what draws us to the image was never the flute itself. It was the idea of music as presence.

And of course, you can never go wrong with the original depiction.

Thanks for reading.

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