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.

Entangled within

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 iii

Silent duality ii

Silent duality 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-II

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

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.

dolwa

This room has witnessed long, difficult days. I have spent months here, living through phases where even simple things felt heavy. When the unwillingness within me grew, the room slowly fell into disorder. Unwashed clothes piling up, the bathroom beginning to stink, everything left without care. This space reflects that part of my life, where inner weight quietly shaped the world around me.

The room knows

The painting captures a rooftop seen from above, where everyday life gathers, conversations unfold, and moments quietly pass. The space feels both personal and connected to the surrounding city, capturing an ordinary yet intimate slice of urban life.

The rooftop

Dolpo, like many indigenous cultures, is increasingly affected by modernism. Without careful preservation, our unique way of life risks fading away due to climate change and outward migration. Through my paintings, I try to reflect and preserve this fragile cultural identity. Native textiles—rich in symbolism, color, and tradition—appear across almost all of my work, serving as a visual language that connects the past with the present. My art is both a tribute and a response: a way to honor where we come from while acknowledging the changes shaping our future.

Dol.extintion(dolwa)

Chori, meaning “daughter,” is a reflection on identity, inheritance, and the quiet strength carried within feminine existence. The two figures in the painting are not separate individuals but symbolic mirrors—representing generations, emotions, and the evolving roles of women in society. Their exaggerated features and bold lines challenge traditional ideals of beauty, inviting the viewer to look beyond surface appearances and into deeper emotional truths. The grayscale faces suggest resilience shaped by experience—stories that are often silenced or overlooked. In contrast, the vivid red elements—the tika, lips, clothing, and the flower—symbolize life, cultural identity, and inner vitality. The red flower held high becomes a gesture of hope and continuity, as if the daughter carries forward both the pain and pride of those before her. The blue background, open and expressive, evokes a sense of space and possibility, yet also isolation. The presence of the sun adds warmth, hinting at guidance, growth, and an ever-present force watching over these figures. Through Chori, I explore the layered realities of womanhood—its beauty, burdens, and unspoken power. This work is both personal and universal, honoring daughters as carriers of culture, memory, and transformation.

Chori

Mero Kala (My Art) is an intimate exploration of self-identity, perception, and the layered nature of artistic expression. The central figure, seated in a relaxed yet introspective pose, becomes both the creator and the subject—blurring the boundary between artist and artwork. Holding a brush close to the chest, the figure suggests that art is not merely an external act, but something deeply personal, emerging from within the self. The distorted and stylized features of the body challenge conventional ideals of beauty, embracing imperfection as authenticity. The exaggerated facial lines and symbolic markings reflect inner emotions, cultural memory, and lived experiences rather than physical realism. This distortion becomes a language—one that speaks of vulnerability, confidence, and the freedom to redefine identity. The framed fragment of a face floating beside the figure represents self-reflection and duality. It hints at how we perceive ourselves versus how we present ourselves to the world. The separation of the face from the body symbolizes the fragmentation of identity in the creative process, where the artist constantly negotiates between inner truth and external representation. The bright blue background evokes openness and imagination, while the grounded earthy tones anchor the figure in reality. Together, they create a dialogue between dream and existence. Ultimately, Mero Kala is a declaration of ownership—of one’s body, one’s story, and one’s art. It celebrates the courage to see oneself honestly and to transform that vision into creative expression.

Mero Kala

“Touch” reflects the shifting reality of bipolar experience, where emotion and perception blur into an unstable inner world. A distorted figure reaches outward, its elongated fingers expressing a fragile need for connection and grounding.

Touch III: break of dawn

Hidden Yearnings reflects the silent emotions of my grandmother and her longing for respect, companionship, and the presence of a partner. Some desires remain unfulfilled even in old age. Inspired by 16th century Nepali miniature traditions and the narrative style of the Ragamala Album, this painting expresses her unspoken feelings through symbolic storytelling. It reveals how quiet yearnings continue to live within us at every stage of life.

Hidden Yearning

'Age of Grace 'is inspired by 19th century Nepali scroll paintings and the sacred presence of Ushnisavijaya, connected to the ritual of Jyatha Janko in the Kathmandu Valley. Seeing my grandmother complete 77 years, 7 months, 7 days, and 7 minutes felt like witnessing time become sacred. The ritual turns aging into celebration and memory into blessing. Through this work, I reflect on how every phase of life carries dignity, continuity, and its own quiet grace.

age of grace

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

This painting is an ode to the lost artists whose contribution is an immense treasure to our nation. They worked not for fame, but for continuity, trusting that beauty would outlive memory. The temples rise still, their windows alive with delicate carvings, their pillars bearing myths that refuse to fade. Rain has touched them, earthquakes have shaken them, centuries have passed- yet the artists remain present in every grain and fracture, whispering through craftsmanship that defies forgetting.

Harayeko kalakarharulai sambodhan( ode to the lost artists)

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

Lyrics of Night expresses love as a calm and timeless emotion. Created using discarded and reclaimed materials, the figure is rendered in soft earth tones, giving new life to elements once considered forgotten. The quiet posture suggests intimacy, trust, and emotional connection. The mechanical components within the body symbolize the steady rhythm of the heart, reminding us that love continues through time, change, and imperfection. By transforming discarded materials into a serene form, the work reflects love’s power to heal, endure, and find beauty in what already exists.

Lyrics of Night

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.

Results for "contemporary"

Entangled within

Silent duality iii

Silent duality ii

Silent duality i

Primeval

A Dialogue with Nature-IV

A Dialogue with Nature-II

Beautifully, Protected. (Triptych)

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

Buttressed through roots and ruins

Everything within reach

dolwa

The room knows

The rooftop

Dol.extintion(dolwa)

Dol.extintion(dolwa)

Chori

Mero Kala

Touch III: break of dawn

Hidden Yearning

age of grace

Space Between Thoughts II

Harayeko kalakarharulai sambodhan( ode to the lost artists)

The tale of virtue and reward II

Raku Face

Lyrics of Night

Imprints of forgotten hands (बिर्सिएका हातका छापहरू)

Time living in wood (काठमा बाँचेको समय)

Tale of Virtue and Reward I