About

Image making has been my absolute focus for over 20 years now. I am a trained photographer, with a BA in Photography (specialising in fashion and portraits), a painter and a printmaker. My approach to art and photography comes from an innate grasp for both subjects, having been exposed to the latter by my father – the family photographer who seldom made it into the frame –  and the former, by my grandfather, who seldom emerged from his painting studio.

After growing up in Delhi, Calcutta, Dubai and Cambridge, I lived my adult life in London, Bangalore, Mumbai and lastly Goa, which is where I live now. The upside is that I have had exposure to diverse cultures and people, the down side is that I constantly feel like I need a change. I have, for the most part, been a city-slicker, but I am now incredibly lucky that I get to live a beautiful and peaceful life in a forested Goan village, where milk, bread and fish can be bought at my doorstep, and is an easy 5km hike to Socorro plateau, a biodiversity hotspot. My studio is in my attic, and the view from its large windows is the tops of the forest trees.

Photography is what paid the bills when I first moved to India, not knowing how to incorporate my other passions into my professional portfolio. The lockdown allowed me to explore so much more in image making than I thought possible. Now, along with doing photo shoots, I also sell art prints, original artworks and have curated art for many-a-project.

Painted or hand-coloured photographs always got me curious about how a single black and white photograph can be transformed into something painterly, making it softer – and sometimes even altering portraits to make the sitter look of a different class than he/she actually is, like painting jewels to the photographs, or making the fabrics look more lavish than they are. My practice has a more contemporary approach, highlighting existing lines, or creating new ones to accentuate shapes or shapes of light.

My passion for printmaking has existed since I was a teenager. But in 2024, I revisited it, and started with linocut, considering it didn’t require a [professional] press, and hand-burnishing with household utensils was possible. I specialised in dry-point etching (which does require a press) during my foundation art year in Cambridge, just before I left for university in London. They were a part of my final year exhibition, and I ended up selling many pieces – my first art sale, at the age of 19. I was finally able to print those same plates again in 2026, when I managed to gain access to a printing press.

Art has been a constant presence throughout my life; I was always surrounded by creativity and artists who encouraged my passion and talents. My work is an ode to them.