Portfolio

The Hargila Party was conceived in Dadara Village, Assam, where the local women’s group, Hargila Bahini, is renowned for their grassroots conservation of the endangered greater adjutant stork. My involvement was both as participant and observer, fostering a respectful collaboration and open dialogue with community members.

Set near Santiniketan, within Bengal’s landscape of rapid development and shifting rural realities, the project on the Dwindling State of the Commons investigates how rural communities contend with the erosion of shared resources.

This collaborative project addresses multiple and interconnected objectives: documenting changing agricultural practices, critiquing corporate interference in seed sovereignty, and exploring the oppression faced by indigenous farmers.

These watercolours reflect the ongoing tension between human presence and nature’s quiet dominance. Architectural forms and patterns are gently overtaken by organic shapes and natural forces, hinting at the inevitability of ecological reclamation. Through subtle layering and interplay of built and natural elements, the works suggest that no matter how much humanity transforms its surroundings, nature’s rhythms endure and will one day envelop all traces of modern intervention. Each piece is both a meditation on ecological fragility and a reminder of nature’s ultimate power to reclaim and regenerate in a world shaped by human ambition.

This series delves into the ephemeral relationship between water, time, and memory through a poetic interplay of reflection and pattern. Using diverse materials and forms—from spiraling acrylic shapes to fragmented wooden panels—these works evoke the dynamic rhythms and cyclical nature of aquatic landscapes. The imagery underscores philosophical themes of impermanence and ecological transformation, suggesting that despite human endeavors, nature’s enduring forces will ultimately prevail. Together, the pieces invite contemplation on the transitory effects of time and the profound, often unseen processes reshaping both environment and identity within the unfolding continuum of life.

“Passage of Time” is an immersive installation using self-captured photographs of pond reflections printed on transparent films and mounted on acrylic sheets. The layered arrangement invites viewers to look through shifting moments, evoking the ephemerality of both memory and nature. Each transparent panel captures transient interactions of light and environment, underscoring the philosophical and ecological impermanence of our surroundings. Through the poetic play of transparency, reflection, and seriality, the work prompts meditation on the cycles of time, the fragility of ecosystems, and the delicate interconnectedness between self, perception, and the ever-changing world.

These oil on canvas works inhabit a distinctive space of referential abstraction, where landscape and the vestiges of natural phenomena are transfigured through formal experimentation and gestural invention. Rather than using oil paint to achieve its customary lushness or illusionistic depth, the artist subverts prevailing traditions—here, oil becomes a tool for atmospheric layering, fractured light, and patterned interruption.

These glass etchings are a compelling intersection of technical mastery and artistic sensitivity, translating motifs inspired by Japanese woodcut traditions into a distinctly modern idiom. Departing from the painterly, the artist engages the transparent and reflective nature of glass as a living surface—one that interacts intimately with light, space, and its own ephemeral shadows.

These works evoke the delicate, fleeting quality —a sense of things softly fading, transient yet profoundly present.