My works revolve around the multi-faceted and somewhat conflicted relationship between human and society. Through my works, I intend to trace the trajectory of an invisible thread that ties humans to their surroundings. No person or no object can survive alone. Survival requires a balanced structure. It means a web of mutual dependence in society. Society has two structures: one created by nature and the other by man. In between has a conflict relationship and sometimes a pensive relationship. With the advent of industry and digitalisation of technology leading to social development, another dimension has been added to this structure. Humans are no longer dependent on nature only. Our ever-increasing dependence on machines and technology in day-to-day life is intertwined with our dependence on nature, not only for physical survival but also for a philosophical one. This industrial growth also distances us from nature. The works also involve another sign of mutual reliance in the form of human interaction, which is more.
abstract than the tangibility of physical survival. The geopolitical and cultural borders define a person’s
identity. They impose different identities on different cultural groups, alienating them and depriving them of broader cultural and social experiences. Erasing this abstract boundary means transcending the territorial
borders, creating a greater human community. Virtual and print media, aided by various electronic gadgets, help create this global community. Through my art, I am for the junction where these three ideas/signs meet. I intend to find out how we are related to each other and to different objects in the virtual and real worlds.
In my works, I intend to represent a ‘political fusion ’. I believe everything is political and self-centred, driven by the motivation to be involved in society. My art practice involves a studio practice. Studio practice helps me to develop my work in meditative ways. I want to research / Experiment in the methodological possibilities of practice, incorporating different media techniques, not just as the means to produce an art object, but to introduce an elaboration of the concept.
Portfolio Showcase
Theatre of Control Block Printmaking 274x122 cm 2025
The work feels like entering a tense, unsettled terrain. The sharp red against black creates a sense of pressure, almost suffocating. Figures sit, stand, and linger, yet remain disconnected, as if held within invisible boundaries. The structures seem unstable, shifting between shelter and control. It reads like a fractured memory, where unease quietly persists beneath the surface.
Hallabol, BlockPrintmaking,, 72 x 48 inch, 2021
“Hallabol” feels loud without sound. The bold lettering pushes forward like a collective shout, yet the figures behind it seem strained, almost trapped within the act of expression. Barbed wire cuts across the space, turning voice into something restricted. The imagery recalls protest, but also control, where power distorts communication. It holds a tension between resistance and suppression, where speaking out becomes both necessary and dangerous at the same time.
Supressed, Etching, 12 x10 inch,2023
This etching unfolds like a fractured memory, where spatial logic collapses into psychological tension. Disjointed figures, a looming animal silhouette, and the word “RIGHTS” emerge as unstable signs within a dense field of cross-hatching. The inversion of orientation unsettles perception, suggesting suppressed narratives and power imbalance. The work recalls traditional printmaking discipline while confronting contemporary anxieties, where bodies, spaces, and symbols resist coherence, exposing the quiet violence embedded in everyday structures.
Farmer oppressed, Block print on paper, 24x18 inch, 2023,
This block print resists sentimentality and instead constructs a charged visual language of distress. The farmer’s exaggerated gaze is not merely expressive but confrontational, implicating the viewer within structures of observation and neglect. The carved marks operate as both form and wound, inscribing labour onto the body itself. Compressed space and enclosing lines suggest systemic pressure rather than individual suffering. Drawing from the austerity of traditional printmaking, the work situates the agrarian crisis within a broader discourse of visibility, power, and representation.