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

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

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

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

In this powerful painting, Aakash Bhairab commands the canvas with a vivid blue- and-red face that immediately draws the eye . The artist shapes the deity's body in bold monochrome strokes , giving the many arms, serpents, and ritual objects a sense of rhythmic movement that feels both sculptural and alive. At the center of the composition, Shiva's serene face rests close to Bhairab's chest, a gentle reminder that the sky-dwelling protector emerges from Shiva's own divine force. Against the warm ochre backdrop, every detail from the raised bell and trident to the curling snakes and expressive feet - stands out with striking clarity. The subdued figure beneath Bhairav's dancing pose anchors the scene, symbolizing the triumph over ego and illusion. The painting carries the spirit of traditional imagery while presenting Akash Bhairab in a fresh, contemporary visual language.

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