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

Imitating Tree

Childhood memories

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.

The relic-I

In a time when oral traditions are quietly fading, Roshan Bhandari’s work stands as a visual archive of Nepali folktales and folklores. These stories, once shared in intimate gatherings, echoing values of coexistence, respect for nature, and community wisdom, are the heartbeat of Nepal's cultural identity. They are not mere entertainments of the past but essential narratives that shape language, thought, and belonging. Bhandari’s artistic journey is rooted in deep research and creative reinvention of these traditional tales. His works transform oral histories into dynamic visual experiences, where ancient myths converse with contemporary realities. Through his paintings, the artist invites viewers to explore themes of wildlife conservation, harmony between humans and nature, and the importance of linguistic heritage. The artwork is more than nostalgia; it is an urgent call to preserve and revive the storytelling traditions that nurture cultural continuity. By retelling these folktales through his art, Bhandari not only safeguards the memory of a shared past but also contributes to the evolution of Nepal’s linguistic and cultural fabric. His artworks become living narratives, where the past informs the present, and tradition finds new life.

The tale of virtue and reward II

Creating a sculpture concept centered around having fun and automatism sounds like an exicting project! Automatism in art often involves allowing the subconscious mind to guide the creative process, resulting in spontaneous and free-flowing expression. To incorporate automastism into the creative process, starts with a loose sketch or simply dive in without any preconceived notions. Allowing your hands to guide the scuplting tools intuitively, responding to the flow of the materials and letting the form evolve organically. Embracing imperfections and unexpected twists, as they add charm and authenticity to the pieces. Ultimately “Jolly Reverie” celebrates the beauty of embracing the moment, letting go of inhibition and finding delight in the crative process without being conscious about the final outcome. These asymmetry and irregular shapes conveys the sense of freedom and flexibility.

Raku Face

Red Lava (Jolly Reverie

This painting gathers fragments of lived spaces drawn from Kathmandu’s architectural heritage carved windows, doors, and ornamental motifs shaped by artisans whose presence remains visible through their work. Structured within a grid of boxes, the composition functions as a series of containers, holding traces that might otherwise fade into the background of everyday life. These forms are not presented as relics, but as enduring marks of human making. Each motif carries the imprint of the hand that shaped it, reflecting a tradition where craftsmanship gave meaning, beauty, and identity to the city. Yet, surrounded by these details daily, we often pass them without notice. The painting responds to this quiet disappearance by isolating and reframing these elements in contemporary visual language, allowing them to be seen again with intention. By containing these architectural fragments within defined spaces, the work acknowledges the accumulation of cultural memory embedded in the urban landscape. Imprints of Forgotten Hands is both an act of preservation and recognition drawing attention to the makers behind the material fabric of the city, and inviting a moment of pause to witness what has long existed in plain sight.

Imprints of forgotten hands (बिर्सिएका हातका छापहरू)

This painting is fragments of lived spaces, the boxes act like containers, holding memories, and traces that would otherwise disappear gradually.This work emerges from close observation, material sensitivity, and cultural memory. Rooted in the architectural language of Kathmandu, it draws from traditional motifs found in temples, muth, and mandir especially the carved wooden doors and windows shaped by patience, devotion, and skilled hands. These forms once carried ritual, function, and identity; today they remain quietly embedded in everyday surroundings, often passed without notice. This painting does not attempt to preserve these motifs as static relics of the past. Instead, it brings them forward reframed, reassembled, and contemporized within the present moment. The rhythms of wood carving, the repetition of patterns, and the structural logic of traditional architecture are translated into paint, allowing the surface to act as a time capsule that holds fragments of craftsmanship at risk of fading beneath modernization and habitual seeing. This work asks for recognition rather than nostalgia. It invites the viewer to pause and re-encounter what has always existed, yet often remains unseen. By shifting these architectural details into a contemporary visual space, the painting quietly honors the artisans who shaped them and reflects on how cultural beauty can continue to exist, evolve, and be perceived today.

Time living in wood (काठमा बाँचेको समय)

Once in a quiet hill village, a kind old man lived with his cruel wife. One day, while gathering firewood in the forest, he found a small egg and built a nest behind their house. The egg hatched into a sparrow that could speak like a child. The man secretly cared for it. When the wife discovered the bird, she grew angry. Though the man claimed a mother bird left it, she remained bitter. As the sparrow grew and playfully teased her, her temper flared until one day, in rage, she cut out its tongue. The sparrow flew away, heartbroken. Years later, the old man met the now-grown, magical sparrow in the forest. The bird forgave him and took him to a beautiful land, where his bird family gifted the man a bag of gold and jewels in gratitude for his early kindness. The wife, upon seeing the riches, went to the sparrow pretending to seek forgiveness. The sparrow, knowing her greed, gave her a similar bag. But when she opened it at home, it was full of snakes and insects. Shocked and terrified, she died in regret. Moral: Greed and cruelty bring sorrow. Kindness, even in secret, brings unexpected rewards.

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