It represents the motifs those are invaluables to us.Those are lineage of our rich artistry, culture,myth,religious belief and philosophy .It is contemporary rendition of inherited beauty,its meaning and concern.

excavation(II)

The painting is assemblage of heritages(motifs ) of Nepal inside the excavator .It represents the artistic and culturally rich past and conncern about its preservation and promotion in rapidly urbanizing movements.

excavation(I)

Paper

fine liner

Watercolor

<p>Born in Okhaldhunga, raised and based in ktm,Rupak Rai is visual artist who derives influence from poetry and anlytical art concepts.Highly skilled in mediums like oil,acrlylica,water color and inkpen artist chooses the medium with repect to the nature and demand of theme.</p>

Once cared for, now left to roam This mixed media painting series captures the silent suffering of roadside animals. Cows, once valued for their milk and labor, are often abandoned when they no longer serve human needs. Left behind on roadsides, they struggle daily for survival—facing hunger, accidents, neglect, and harsh weather conditions. Though free in body, they are not truly free; they are trapped in silent suffering that goes unseen and unheard. These animals become the silent beggars of our roads, reminding us of our responsibility, compassion, and the cost of human convenience.

Silent Beggars I

Artwork statement Once cared for, now left to roam This mixed media painting series captures the silent suffering of roadside animals. Cows, once valued for their milk and labor, are often abandoned when they no longer serve human needs. Left behind on roadsides, they struggle daily for survival—facing hunger, accidents, neglect, and harsh weather conditions. Though free in body, they are not truly free; they are trapped in silent suffering that goes unseen and unheard. These animals become the silent beggars of our roads, reminding us of our responsibility, compassion, and the cost of human convenience.

Silent Beggars II

This mixed media painting represents the beauty of village houses that are imperfect yet filled with a timeless charm. The aged walls and simple structures reflect the natural essence of rural life, where beauty exists beyond perfection. The colors used in the artwork symbolize the place I come from, reflecting its environment, warmth, and identity. It is deeply connected to my memories and emotions, representing my roots and the strong bond I hold with my origin.

The Charm of Village Home I

The Charms of Village Home II

These series of works emerge through an intuitive process, guided by subconscious impulses rather than predetermined ideas. Each gesture follows an internal rhythm, allowing forms to surface naturally through movement, texture, and layered marks. The flowing lines suggest moments of transformation without defining a fixed narrative, inviting viewers to engage with their own perceptions and emotions. Existing between intention and chance, the paintings become traces of presence—where intuition, memory, and the unconscious quietly reveal themselves through the act of making.

Untitled VII

Untitled VI

Untitled V

Untitled IV

Untitled III

Untitled II

Untitled I

This work is inspired by my fascination with the worship of Kumari as a Living Goddess in Nepalese culture. While witnessing these rituals, I was deeply moved by the devotion surrounding the Kumari — the way she was worshipped, the life she lived in seclusion, her elaborate dress, her distinctive hair, and the powerful third eye painted upon her forehead. At the same time, I felt a sense of sadness at not being able to fully understand the histories and meanings behind many of the rituals I encountered. During the celebration of Indra Jatra, I felt especially overwhelmed, as though I had entered the presence of the divine itself. That profound spiritual experience inspired me to portray deities in my artworks, leading me to revisit and sketch the Navadurgas, much as I had done in my childhood. Through this composition, I attempt to capture the mystical atmosphere, sacred energy, and living traditions that continue to shape the spiritual identity of Kathmandu Valley.

Goddesses / Shakti Swaroop

The work is focused on such depictions from instances in his life. The centre of the work depicts The Buddha in his meditative state, behind this is him in the “Varad Mudra” which is a state of the Buddha in which he blesses. The left side of the work includes depictions of the Buddha receiving his son Rahul from Yashodhara after he returns to his palace to beg for donations. His son Rahul becomes the most precious thing that Yashodhara could grant the Buddha. On the right side of the work the buddha can be seen preaching his first five students in Vanarasi. He is in the Dharmachakra Pravartan Mudra with his hands against his chest. This gesture is one of teaching. Dharma means ‘law’ and Chakra means wheel and usually interpreted as turning the wheel of law. The work also depicts the panacha buddhas in the lower central part of the work which showcase different abstract aspects of Buddhahood. They are seated in five positions of meditation. A depiction of the Buddha receiving a bowl of porridge from Sujata before his enlightenment is also shown on the fight side of the work. The title of the work is Buddha with Prayer wheel as the prayer wheel which is present in the worship of the Buddha and the work collectively forms a prayer for him.

Buddha Circuit

My work Mystical Song is inspired by the various sounds produced by temple complexes in and around Kathmandu. Here, prayer wheels, bells, the sound of Buddha’s mantras, prayer flags fluttering around Swayambhu all come together to create a mystical environment that is mystical. In the work I have shown the Buddha’s stupa, a gesture of universal worship, the wisdom mudra of the Buddha and the Padmapani Bodhisattva. The work is a unique mixed-media technique, prepared using mixed media techniques. After creating these with a viscosity etching technique, I’ve painted over them using metallic paints.

Mystical Song II

In Ganesh with Bahan, I’ve illustrated various forms of Ganesh from various locations, along with his vehicle, the mouse. This includes Ganesh from various temples in Kathmandu, some from smaller temples and some from larger ones. It also features different forms like Surya Vinayak, Jal Vinayak, Kamal Vinayak, and Ashok Vinayak, with the mouse appearing in various places. The mouse is also depicted in various poses and gestures, sometimes holding a laddu in its hand, other times sitting at the temple door, or perched on a pillar. This piece is a unique creation made with a mixed-media technique

Ganesh with Bahan

Food serves as the ultimate architect of culture and community within this artwork. The visual narrative explores how traditional recipes and ingredients act as living archives, preserving heritage and defining cultural identity across generations. Elevating this narrative further, the piece taps into the sacred dimension of nourishment. By portraying food as both a ritualistic offering and a shared blessing, the work reflects a profound spiritual harmony—reminding viewers of a mindful connection to the universe and turning everyday dining into an expression of gratitude.

Grains of Roots II

Grains of Roots I

Thoughts: arises, some settle in, some fades away, some changes its course, some drags surprises, as the energy is invested it is manifested

Space Between Thoughts II

Becoming Transcendence Rasik Rai does not seek to represent the world as it appears, but as it is felt—as it is intuited. His practice is a pursuit of transcendence, an attempt to glimpse what lies beyond the material and visible realms. Through his work, he explores the subtle thresholds where the inner and outer worlds dissolve into one another, where form gives way to presence and silence. In his process, Rasik listens closely to stillness and allows it to speak through color, texture, and space. Each work becomes a quiet dialogue with the unseen—a meditation on reality that cannot be captured, only sensed.