I am a painter working with the plants and animals that exist around me in daily life, with a focus on Indian flora and fauna—both native and naturalised.

 

My work begins with spending time looking. I observe how plants grow, age, bend, overlap, and occupy space across days and seasons. I do not work from single images or isolated moments. Understanding develops gradually, through repeated observation and continued proximity.

 

I am drawn to the quieter structures that hold a form together—stems, dry branches, worn leaves, awkward bends, breaks, and the spaces in between. I am interested in how life presents itself when it is neither arranged nor idealised, and in how form persists through change, damage, and irregularity.

 

I work primarily with watercolour and oil paint, using these materials across both small and large formats as part of my daily studio practice.

 

My paintings are built through attention to structure, spatial relationships, and overall liveliness. I think about how a work reads from a distance, how forms relate to one another within the frame, and how the image holds together over time. Overlaps, tensions, and pauses within the composition guide the movement of the eye.

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Slowness is central to my practice. Attention is built through duration, and staying with a subject long enough alters how it is understood. Many of the plants and animals I return to are ordinary, familiar, or overlooked. Working with them repeatedly becomes a way of acknowledging presence without turning it into a symbol or spectacle.

 

UHAAPOH is an extension of my studio practice. It is a space through which I share my work alongside writing, learning resources, and curated experiences that reflect my approach to looking, making, and living with art. UHAAPOH also supports animal welfare initiatives, reflecting an ongoing commitment to care and responsibility beyond the studio.

 

Alongside painting, I teach and facilitate learning experiences centred on sustained observation, material engagement, and the development of a long-term practice. These spaces are designed to slow down the act of making and to shift focus away from outcomes toward process and attention.

 

Through my work, I am interested in creating images that allow for quiet looking—paintings that hold space for attentiveness and an awareness of the living world as it exists alongside us.