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

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 ?”

These paintings show my memories and the cultural traditions that have shaped who I am. They show the jatras and rituals I used to enjoy. But after the earthquake, many things changed, like the places, the people, and the way these events happened. I still feel strongly connected to these traditions, but I can't experience them the same way I used to. Through these pieces of art, I try to keep those memories alive and contemplate how the emotional distance has grown over time. The works are a way for me to keep the cultural spirit that still shapes how I feel about myself and where I belong.

Sa Paru (Gai Jatra)

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

In this striking painting, the artist presents a single powerful form that unites all eight Bhairavs into one commanding presence. The central figure Unmatta Bhairav radiates fierce energy through blazing red eyes, sharp gestures, and multiple arms holding ritual objects. Faces emerging within the composition suggest the merging of different Bhairav aspects, each contributing its own strength and character. Rendered in bold monochrome tones against a warm ochre background, the body feels solid, intense, and timeless. The dynamic posture conveys movement, authority, and control over chaos. Beneath the raised feet, a subdued figure(likely apasmara) grounds the scene, symbolizing victory over ego and illusion. Rooted in traditional iconography yet expressed with a contemporary spirit, the painting captures the unified force, protection, and transformative power of all eight Bhairavs within a single, compelling image.

Unmatta Bhairav II

This striking artwork captures Batuk Bhairav, a fierce yet benevolent form of Shiva, as worshipped in places like Lagankhel . The central figure, rendered in dynamic monochrome, embodies the tandava dance , symbolizing the cosmic cycles of creation and destruction, with the characteristic blue-masked face adding a vibrant, ritualistic focal point. Crucially, the depiction includes Shiva's calm profile appears to the right, signifying that Batuk Bhairav is himself an emanation of the ultimate reality, Shiva . The main figure stands victorious over a prostrate apasmara (demon of forgetfulness), emphasizing his role as the protector who dispels ignorance and worldly delusion.

Batuk Bhairav

'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

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)

White

Yellow

Indigo

Blue

Black

Gray

Orange

Green

Violet

Brown

Pink

Beige

A painting is an artwork that uses color and form on a surface to convey an idea, mood, or scene.

Acrylic

Acrylic Oil

Aerosol / Spray Paint

canvas

cartridge paper

casein

chalk

Egg Tempera

Fresco

Gouache

marker

natural pigment

Oil Pastel

Other

Pastel

Watercolor

painting

Animal

Atmospheric

awareness

Botanical

Cartoon

Chamber

Chaos

Cityscape

Color

Comic

comic world

companionship

Concept Art

Conceptual

consciousness

contemplation

Crown

cultural

Culture

Cure

Deities

Documentary

Emotion

Everyday Life

evolution

existence

exploration

Fantasy

Fantasy Characters

Festival

Figure

Floral

Food

geometric form

Geometry

gift

harmony

Heritage

Historical Events

Holiday

humility

instinct

Island

journey

Knowledge

Landscape

Lifestyle

Marine

Medicine

mindfulness

Mood

motherhood

Mythological

Nature

Nude

observation

passage

path

perception

Performance

Pets

Portrait

quiet moments

reflection

religious icon

resilience

Ritual

sci fi world

Sci-Fi

Science

simplicity

Snow

Social Commentary

solitude

Spiritual

Sports

Still Life

Sunsets / Sunrises

survival

symbol

Technology

thirst

tranquility

Travel

unintentional creation

universe

Urban

Urban Life

urban mind

vulnerability

wander

Water

wilderness

Wildlife

World

A drawing is a visual artwork created by making marks on a surface, usually with pencil, ink, or charcoal, to express ideas, forms, or emotions.

Acrylic Marker

charcoal

colored pencil

crayon

Crosshatching

fine liner

Graphite

metal

drawing

Architecture

Calligraphy

Portraiture

Sfumato

Surreal

Mixed media is an artwork created using two or more different materials or techniques.

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