Working between the studio and the banks of the Holy River Ganges, I followed the flow of water across seasons and times of day. Through painting, meditation, yoga and direct connection to nature, the work reflects a search for dimensions beyond the visible. The project comprises of 35 key works and 80 sketches.

I share some highlights below.

The Transitions paintings register the flow of the Ganges across different seasons and times of day. It can be understood as a sequence of frames in a film, or as an attempt to comprehend something whose duration extends far beyond my lifetime, both into the past and into the future, yet in the present moment we are perfectly united, and I have access to infinity.

I was painting the patterns that the Holy River Ganges was creating at night - sometimes in the studio and sometimes on the bank of the river - and I was thinking - "You are here to create, to partake in the flow".

I later found out people see very different things in this artwork - from energy fields shaped by wave interference to experience of motherhood.

Decision was inspired by a stormy night on the banks of the Ganges, near the illuminated Laxman Jhula bridge. During flashes of lightning, the entire sky would momentarily turn an intense, unreal violet, suspending the landscape between darkness and revelation. The work reflects the experience of a decisive instant, a moment in which perception sharpens and a choice is made irreversibly, dividing time into before and after.

This work was inspired by the monsoon season on the banks of the Ganges in 2020. On one particular morning, the landscape was completely immersed in dense fog, erasing spatial boundaries and creating a sensation of stepping into the unknown.

The painting reflects an interest in time and perception: an the idea that the future, past, and present coexist, while an invisible veil temporarily obscures what is already there. The fog becomes both a natural phenomenon and a metaphor, transforming the landscape into a space of contemplation and quiet mystery.

The fluid monoprint technique became a natural expression of what I was experiencing and exploring in India: a state of introspection and a journey into the unknown, toward connection with one’s own essence. The holy River Ganges became my primary source of inspiration: both my subject matter and my guide.

This work emerged from twilight walks along jungle roads, where fleeting encounters with Indian women in vivid sarees became part of the surrounding landscape. The image was developed through a monoprint process and later worked into by hand with oils.

The forest unfolds through multiple perspectives simultaneously: the figures are perceived from above, while the trees are viewed from below, creating a layered spatial experience. This shifting viewpoint reflects the way memory, movement, and perception overlap in moments of passage, where human presence and landscape briefly align before dissolving back into twilight.

In 2021, I gave up my long-term studio base in India and travelled through Meghalaya, 'Abode of Clouds', in the North-East India on a motorbike. With a travel pad tied to my backpack, I made oil-pastel landscape studies where the road and local tribes would take me.

Painting alone in nature, face to face with those unique dramatic landscapes is an incredibly powerful, transformative experience. It is also scary in some irrational unexplainable way: you just feel the imbalance of power between you and such a scale. It feels less like work and more like a daring ritual, a vow to one’s own soul. Each session becomes a kind of dialogue with the elements, where you make inner promises or discover truths that later unfold in life, sometimes years afterward. These are places of power, and to paint within them is to plant a seed of revolution: daring, dangerous, life-changing.

Sketchbooks were a constant part of my practice throughout India from 2019 onwards. I produced over 80 sketches across different regions, using the sketchbook as a way to think through painting, track visual decisions and understand my process over time. Together, the Meghalaya studies and the sketchbooks reflect a shared condition of mobility and working without a fixed studio sometimes.