These are works I’ve created in oil and charcoal—family portraits, landscapes, and a few master studies.
Oil on canvas — 30 × 36 in
A master study inspired by Van Gogh’s The Starry Night, exploring bold brushwork, swirling skies, and the expressive rhythm of color and movement across the landscape.
Reference/Credit: Study after Vincent van Gogh.
Oil on canvas — 18 × 24 in
A master study based on Leonardo da Vinci’s celebrated Renaissance portrait La Belle Ferronnière. I focused on the calm, dignified expression, the soft transitions of light and shadow, and the rich textures of the clothing and jewelry.
Reference/Credit: Study after Leonardo da Vinci.
Oil on canvas — 24 × 30 in
Our daughter Aahana was watching the paragliders with wide-eyed amazement. My wife, Monalisa, captured that moment from behind, and I recreated it on canvas as a Christmas gift for our little one—a memory of wonder, sky, and childhood curiosity.
Reference/Credit: From an original photograph by Monalisa.
Charcoal, pencil and pen on paper
A charcoal sketch tribute to legendary filmmaker Satyajit Ray —rendered with strong contrasts and a cinematic mood, emphasizing form, light, and quiet intensity.
Series
Between Walls and Water
Between Walls and Water is a small series of contemporary abstract oil paintings made with palette knife on artist’s oil paper. The works move through three states—constriction, endurance, and drift—using layered structures, submerged city-light, and softened reflections. Figures and buildings appear and dissolve, as if the mind is trying to map escape routes inside a changing urban world. Yellow light becomes a recurring signal: hope that persists even when the way out is blocked, flooded, or blurred. Each painting holds a tension between surface and depth—what you see at first glance, and what stays underneath.
Medium: Oil on artist’s oil paper • Palette knife only • A4 (21 × 29.7 cm) • 2025
Out-of-Focus Dreams
Reflections drift, soften, and double back on themselves. Some forms almost arrive; others fade mid-thought. It’s a painting of afterimage—what remains when a dream won’t hold its shape.
Efforts Behind the Wall
A compressed space of planes and partitions—something like a city seen from the inside. Shapes press forward, pause, and meet resistance again. The surface holds effort as a rhythm: persistence without a clear exit.
Submerged City
A city seems to sink below the surface, quieter but not extinguished. Yellow lights stay on—small signals that life continues behind the weight of water and shadow. Above it all, the world feels distant, almost theatrical.