"Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)"

Robert Rauschenberg - 1959

Vrtti Series
(Turnings)

"Do not feel lonely, the entire universe is inside you.”

-Rumi

Yogascittavrttinirodhah (1.2 Yoga Sutras)
Yoga is the stilling of the fluctuations(turnings) of the mind.

-Patanjali

The idea came about organically through yoga asana(postures), meditation, stillness and encountering moments of loneliness despite the abundance of digital connection. The square shaped paintings explore each angle, having been rotated multiple times during the course of their creation. Colors, shapes, textures, transparencies and perceived mistakes act as metaphors for the 50,000-70,000 thoughts we humans have each day... This exploration is an effort to still these thoughts, these turnings and expose them for what they are...just...thoughts.. just fluctuations... just turning... around and around....

(Each painting is to be displayed on a rotational device allowing the viewer to experience the full expression of the work)


Katha Series
(Conversations)

"The only way out is through"
-Robert Frost

These individual turnings took on a life of their own and wanted a dialogue with each other, on each of the four angles. Often the two square panels started speaking in the language of opposition that at times merged toward mutual understanding : Love and Fear; Triumph and Disaster, A Tear and a Smile, Men and Angels; Friend and Foe; Jealousy and Generosity...

From the desire to vanquish loneliness and evade solitude, the emerging conversations inclined towards the whimsical, and as a fascinating consequence of these dialogues was a transformation of both the painter and hopefully the viewer. Inevitably, both become eaves-droppers, listening to the soundless dialogue exploring dualities in their on-going conversations.

(Most diptychs are to be displayed on a dual rotational device so that both panels rotate simultaneously allowing the viewer to experience the full expression of the work)

Ganga Miniatures 2011-2017

“The photographs fell from her hands in to the lap of Ganga Ma”

Even as a child, I have always had a fascination with all things tiny which eventually lead me to Indian miniature painting. The tradition dates back to the eleventh century, where the sacred Buddhist text of Bengal and Bihar (in the north east of India), were written on palm leaves and illustrated with tiny
images using vivid colors and precise details, depicting scenes from the life of Buddha and Buddhist divinities.

My modern take on this idea, in the form of Ganga miniatures came about accidently. I had been pondering Richter’s O’Brist, after returning from and exhibit in London, followed by my first
trip to Varanasi, which is belived to be one of the oldest living cities in the world. The city extends along the banks of the River Ganges (Ganga Ma) a holy, sacred, goddess and mother that
supports all forms of life and death along her banks. Because she is considered holy and sacred, possessing magical powers, it is believed that she can withstand all types of degradation and
pollution. In this way, she is the bearer of both dualities – the sacred and profane. The idea of something being perfectly imperfect as in the beauty of a hand-made (as opposed to a machine-made) object with all is idiosyncrasies inspired me. Designer Rei Kawakubo’s own meditation on this subject lead her to remove cogs from an industrial knitwear machine because she believed that the random holes created in the garment while the machine was knitting, would leave a more authentic finished piece, than an otherwise perfect, machine-created garment. Its imperfections would make it more intriguing and perhaps more beautiful.

I imagine these photo-etchings are a result of accidently slipping from my hand into the lap of the Ganges, and the results, are a destruction and a simultaneous re-birth, which can perhaps be
viewed as even more intriguing that the original

Older Paintings- 2009-2012

Again these explore color, light and texture, with the aim of creating dialogues between the viewer and painting. Scale plays a major factor in achieving an abstract, visceral and uncomplicated aesthetic.
Catalysts for these works stem back to nature, yoga and mediation, along with a nod to the New York School of Abstract Expressionists.


Left Hand Language

meditatiing on my left hand... the left side is considered the feminine, the receptive side, the sinister- la sinistra (Italian for left). Also intriguing is the definition of the school of left hand tantra.

7_close-up-3.jpg