Title: Hidden Voices

First Room  |  Collateral Show  |  From 12 December 2014 to 29 March 2015

A technology led installation where multiple suspended bottles in a dark room have a film running in each of the corked bottles like voices trapped. The works collectively titled ‘Hidden Voices’ seek to explore subliminal layers and entities trapped in their crevices. They make a conscious and deliberate attempt to hollow out and expose multilayers that often house thoughts, feelings and other such data; which are bottled, processed, and then lost in translation. A data lost between source or origin and the recipient. The fragility or strength of purpose, of the set and bottled boundaries, stands unsubstantiated in their intangibility. The voices and shadows therein still painfully linger and echo the sentiments trapped in them. More often than not, entities build delusory walls as fortresses, to protect the ‘Hidden Voices’ and yet expend considerable energy in trying to scale these same walls to enable an escape or release. This energy creates a disturbance. The visual representation here alludes to a cosmic dance with a ‘transmission of emotional energy’ in the form of physical waves, in bottled entrapment, begging for realization or arbitration. It bares a skeletal frame devoid of surface negotiations and complexities. It’s the under surface that holds integrity and authenticity. The only appeasement will be ‘connection and dialogue’ which hopefully the viewer will provide to afford completion.


Title: Scraping The Lacuna – Film

Second Room  |  Collateral Show  |  From 12 December 2014 to 29 March 2015

Excavations reveal the scraping of the inner lacuna. Like scraping dry rot from trees after they have been felled. The layers are pealed bit by bit to reveal historic scars; a few markings, and then there is an attempt to revisit, conjoin and resuscitate. The inscriptions here read: “I tried to peel the scabs and pick on the scars; for they bled no more but had hardened and cemented, like a hollow yet pulsating lacuna till you came along.” Here, there is a constant and incessant endeavour to fill underlying cracks. ‘Hidden voices’ are those whispers that push through submerged waters to the surface till the physicality of their presence is palpable. The voices contained, more often than not, beg to be released. And release is only possible with acceptance


The Royal Academy Summer Exhibition

London  |  June – August 2009


Group Show

Curated by Tanya Baxter Contemporary Arts.

Duke of York Square  |  London  |  15 November 2012


Title – Unspoken Whisper

Group Show | 20 May 2013

Silence has a definitive sound. Like a gentle or howling wind, based on the ear of the listener. The unspoken whisper is made of poems, in varied moods reflective and yet based on the ear of the perceiver.


Title: Bulls & Bears

The Artist has been one of 7 Shortlisted Artists for the Threadneedle Figurative Prize

The Judges were: Richard Cork, Angela Flowers, Hew Locke, William Packer & Art Critic Brian Sewell

Mall Galleries, London | 28 Aug – 5 Sept 2008 I | Sponsored by: ING Direct

The order had now changed. There had been a monotonous hum, continual and shrill; of bulls and bears, of carbon footprint and the cacophony of greed. But now with the new order, no amount of pennies jingling could open the world locked down like an iron blanket. Rules that defined society no longer had any bearing. Economies crashed like ninepins and the grinding mills came to a standstill like the last groan from an overworked exhausted machine. The works here endeavour to show the fall of world economies and a society grappling to find definition of order as their reference points all get rearranged and redefined.


 “Impossible Exchanges”

London | 2009

Curated by Filipa Oliveira & Miguel Amado



5 -13 December 2009 | Florence Biennale | Italy


Solo Show | January 2010 | Visual Arts Gallery Delhi and Art Alive Gallery, Delhi.

Foreword written by Sir Nicholas Grimshaw, President, Royal Academy of Arts, Piccadilly, London.

With an in-depth published interview with Dr Michael Asbury, Director of Research Centre for Transnational Art, Identity and Nation.

Retinal Residue implies that layers of influences have converged leaving in their wake some residual matter in the retina; after eliminating some waste. A lot of this retained residue is dependent on the perceptual consciousness and perhaps through selective memory some images are retained as a result of context and/or the imagination. The reproductive imagination is the by-products of an association of ideas, objects and the context. The connection between the associated items is contingent, and dependent on various experiences and in this case their multicultural. They therefore comprise of complex patterns of sensory states constructed by a productive imagination. The outcome is a unified process and guided by a combination of sensory input, memories, expectations and varied influences.


Painting displayed as permanent collection at the lobby of The St Regis, Mumbai

The painting is from the “Monks” series

All energy patterns stem from the cyclical motion of thought and action. Auras are sucked in, churned and then expelled or emanated, dissolving into other energy fields creating altered states of being. The continual use of spiral and circular patterns try to chalk out the attraction and dissolution of energy fields between any two entities, whether metaphysical or celestial in esoteric energy patterns. In this instance it forges and infuses an aura of positive energy into the stratosphere.


Titled: Shivohum

“I held on to a beam of light and clenched my fists, never to let it go.

Its eternal glow suffused me, mind, body and soul. Even in the depths of darkness, at night.”

Exhibition travelled to: Delhi, Bangkok, China Art Museum, Shanghai & MOSA Belgium 2015 -16.

Curated by Sushma Bahl, MBE, Head of Arts and Culture at British Council.
Author: Martin Gurvich, Director of the Museum of Sacred Art (MOSA).
Hard Bound Book


Scoletta of St John the Baptist Campo Della Bragora

May 13-20, 2013

During 54th BIENNALE d’arte di Venezia, The International Exhibition of Contemporary Art,
At the Scoletta of San Giovanni Battista by Studio Arte Carapostol
June 18 – 25, 2011.


London Underground Poster: Piccadilly Line, Gloucester Road Station

September 2009

Elephant Parade Installation

London, June 2010 with an auction, August 2011

Titled Boogie Woo Miniature replicas of the elephant installation has been reproduced and sold globally, including London Selfridges and Tangs Singapore

Breaking Barriers

Curated by Tarana & Arzaan Khambatta

Gallery ArtnSoul Jehangir Art Gallery Mumbai, November 2018

Pink Filly installation

Gallery Art & Soul, Mumbai, February 2014

Elephant Parade Installation

Titled: Lotus Sutra

Singapore, Hong Kong (5 other cities) November 2011 – February 2012

Miniature replicas of the elephant installation has been reproduced and sold globally, including London Selfridges and Tangs Singapore

Champions of Change, Sculpture

Tao Art Gallery | Mumbai | 1-5 November 2019

Curated by Arzaan Khambatta

Sponsored by J Vakil Foundation

The playfulness in the colours, the laced up shoes and other imagery find continuity with ‘Boogie- Woo’ The Elephant parade Installation in London