Even delicate flowers have thorns. Even the beautiful flowers wither. A ceramic piece created in porcelain etched over a red glaze. The artwork represents women and their body with the surreal flower symbolizing pain and suffering of womanhood.

The Agony in Red

My artistic practice explores my inner thoughts and emotions, particularly the experiences that are difficult to express through words. I attempt to visualize the silent conversation within the mind. My work examines the duality of human experience, particularly the tension between fear and vulnerability, insecurity and resilience, and the lingering presence of regret. The use of red and purple against dark backgrounds serves as a symbolic language of fear, uncertainty, and emotional unrest.

Silent duality i

Instead of seeing curiosity as an emotion, imagine it as a physical place.The windows are rooms built by curiosity itself. Every time someone wonders, questions, or imagines, another doorway opens.The rabbit is curiosity given a body.Every panel represents curiosity moving deeper into the architecture of the mind.The work transforms an abstract feeling into an environment, inviting the viewer to move through curiosity as though it were a physical space.

Architecture of Curiosity IV

Architecture of Curiosity III

Architecture of Curiosity II

Architecture of Curiosity I

This work visualizes the transformation of the Kathmandu Valley as described in the Swayambhu Purana after Manjushri drains the primordial lake. The valley is reimagined as a vessel of abundance, where the self arisen flame of Swayambhu speaks to the richness and enduring fascination of our history and origin.

Primeval

The vibrations, sounds, and interactions with nature continually inspire me to explore the theme of my surroundings. The colors and their visual language create a spatial dialogue within my work, giving me the energy to engage with the process and move forward in my creative journey.

A Dialogue with Nature-IV

A Dialogue with Nature -III

A Dialogue with Nature-II

This original watercolor painting captures the serene, untamed beauty of a lush wetland pasture at dusk. Employing an impressionistic, loose wet-on-wet technique, the artwork beautifully blends vibrant greens, soft earthy ochres, and hints of a warm, sunset-glowing sky. Scattered throughout the marshy grass and winding streams, a herd of grazing cattle and a solitary figure add a sense of peaceful, quiet life to the vast landscape. The fluid brushstrokes and natural pigment bleeding evoke the fresh, damp atmosphere of a tranquil rural valley.

The Golden Hour Grazing

Here, the doe like eyes he uses to depict his characters are characteristic of Mithila art. Sita’s wedding is depicted with a kobarghar and the bride is carried in a traditional mahapa palanquin—the backdrop reveals the classical bhitichitra motifs on the wall. In keeping with popular folk stories, fishes guide Sita’s boat as she journeys to her husband’s home. A dash of orange and blue offset the monotony of the brown tones and illuminates this prints.

Ramayana II

Another work ‘Ramayan’ depicts the entire life story of Ram. It shows Sita’s birth, her marriage, Ram and Ram’s Brother Laxman making their way across the Ganges for ‘banbas’ (command to live in the forest). I have also shown the great battle between Ram and Rawan and Rawan’s demise through the festival ritual of setting fire to Rawan’s effigy. This work also showcases the love and sacrifice which exist in familial relationships. This work which is created as a zinc plate etching also makes use of the woodblock technique. In this technique, s wood block is used to print on paper upon which I have worked with hand to make the print a unique piece. Using Mithila iconography, I have attempted to give new life to this ancient form of drawing and to preserve it for the future.

Ramayana

This expressive acrylic-on-canvas painting of Lord Ganesh blends vibrant colors, bold textures, and abstract forms to create a powerful spiritual presence. The artwork captures Ganesh’s calm and wise expression while symbolizing creativity, positivity, and inner strength. The layered brushstrokes and rich contemporary style give the painting a dynamic and soulful energy.

GANESH-6

This acrylic on canvas painting portrays Lord Ganesh in a soft and meditative abstract form. The artwork blends gentle shades of pink, violet, and blue to create a peaceful spiritual atmosphere. Textured brushwork and layered colors give the painting depth and emotion, while the simplified forms highlight Ganesh’s calm presence, wisdom, and divine energy. The glowing symbolic details and flowing composition bring together contemporary abstract expression with traditional spiritual symbolism, making the piece both serene and visually captivating.

GANESH-5

This acrylic on canvas painting presents Lord Ganesha in a playful and expressive contemporary style. The composition combines bold colors, simplified forms, and rhythmic patterns to create a sense of warmth, innocence, and spiritual energy. Ganesha’s calm eyes and relaxed posture symbolize wisdom, protection, and inner peace, while the vibrant reds, blues, and yellows bring a joyful and dynamic mood to the artwork. The painting blends traditional symbolism with modern artistic expression, giving the divine figure a unique and imaginative character.

GANESHA-3

This acrylic on canvas painting presents Lord Ganesh in a playful and expressive contemporary style. The composition combines bold colors, simplified forms, and rhythmic patterns to create a sense of warmth, innocence, and spiritual energy. Ganesha’s calm eyes and relaxed posture symbolize wisdom, protection, and inner peace, while the vibrant reds, blues, and yellows bring a joyful and dynamic mood to the artwork. The painting blends traditional symbolism with modern artistic expression, giving the divine figure a unique and imaginative character.

GANESH-2

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

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

I remember my grandmother drying seeds under the sun, her hands moving with practiced ease. The earthy aroma filled the air as we sat together, sharing stories and laughter. She would offer me baked grains and beans, their warmth and simplicity a comfort. These moments, simple yet profound, are etched in my memory, a testament to the bond we shared and the traditions she passed down.

Seeds of memory V

Seeds of memory II

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

The Chhepu (Kirtimukha) in the painting represents the Toran (Tympanum) found around Kathmandu Valley and other parts of Nepal. The painting refers to the issue of conservation of heritage where intended to decorate and protect them, the concerned body applied layers of Enamel as a paint to the struts, pillars, tympanum, and other parts of the architecture/images. The Enamel tends to sit on the surface of those images, engulfing all the details of the images. Also, the layer of Enamel on those surfaces, especially wood, is impossible to undo, ironically destroying them.

Beautifully, Protected. (Triptych)

The Streets During Dashain — The festive time of Dashain - vendors selling rams and bucks (Chyangra, Khasi, and Boka), offerings, flowers, fruits, Kubindo, Wukhu and so on - transform the streets of Bhaktapur into a vibrant tapestry of communal harmony. The two paintings in the series are a depictions of that time, extracted from my memories of growing up in this city and how it continues on adapting with the changing times.

Street During Dashain - “बा यो खसी कि बोका ?”

5000 years ago, two Brahmans named Bidhyadhar and Yeshodhar visited a place near Kumaripati. They had brought a lane with them which they rested against a wall before sleeping. The next morning when they woke up, they saw their lane turn into a big tree. People worship the tree as Barunbrikshya a form of lord Shiva up till this day. The two brahmans had burnt wood at night which is still burning in today’s day even after so many years. That’s why they named this place Aagnishal which means burning wood. My grandfather told me this story on the way home when he used to pick me up from school. We used to walk pass the same tree at Aagnishal. Since the tree is crooked, it blocks the road so people have to bend down to pass through. When I used to walk with my grandfather as a kid, I used to bend down watching my grandfather bend down even though I could easily walk through it up straight.

Buttressed through roots and ruins

Whispering through smoke

A city corner shaped by accessibility and convenience, where daily needs are always close at hand. The space reflects the advantage of urban life, everything within reach, making everyday living easier and more supported. It carries a quiet sense of gratitude for the ease and facilities that make life more comfortable.

Everything within reach

Dolpo remains one of the last untouched and uncharted regions of the Himalaya. While it shares certain geographical and cultural echoes with other Himalayan communities of Nepal, its identity stands distinctly apart—rooted in its own language, rituals, oral histories, cuisine, jewelry, and, most visibly, its attire. These elements together have long defined a self-contained cultural world. However, the tides of migration and external influence have begun to reshape this landscape. Where culture once spoke effortlessly as identity, it now often requires explanation. Traditional patterns and textile practices are gradually shifting; handwoven woolen fabrics, once integral to daily life, are increasingly replaced by affordable, imported blends of polyester and cotton. This transition reflects not only economic change but also a subtle erosion of material heritage. In this body of work, I attempt to hold these two realities—the traditional and the contemporary—within a single frame. My paintings seek a quiet balance, where cultural memory coexists with present transformation, without conflict yet not without tension. Through composition and form, I aim to preserve an aesthetic continuity while acknowledging inevitable change. At its core, my practice is an effort to honor and reflect the enduring identity of Dolpo and its way of life.

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