IDEOLOGY & CHARACTERS

I explore the contrast between material reality and the way we perceive it, as

well as how we each find our place between individuality and belonging.

There are no fixed characters or endings, only moments suspended in time, waiting for you to step in. This is storytelling through atmosphere and suggestion, where your imagination becomes part of the art. Dreamworld isn’t just a collection, it’s a portal into scenes that shift and evolve with every gaze, shaped as much by your feelings as by the work itself.

BACK TO DREAMWORLD

STORIES

Art is Story

Art created with intention, conveying depth and story does not merely exist to be seen, It is in constant motion, It demands interaction. It challenges. It provokes. It moves through the eyes, emotions & consciousness of those who engage with it.

I like to think my creations are storys without words, visual narratives that stimulate emotion, intregue and inspiration. Every color, composition, and detail holds meaning, guiding the viewer through an experience beyond the surface, inside the art. Just like stories help us make sense of life, I convey them within my art to transforms chaos into beauty, emotion into form, and imagination into something tangible,more than what we see—it is what we feel, question, and discover.

Great art doesn’t just tell a story; it invites you into one. It challenges perception, reveals hidden layers, and asks you to see beyond what is familiar. Whether through symbols, contrasts, or illusions, each piece carries a world within it—waiting to be explored. In this way, art doesn’t just capture moments; it creates them, shaping how we experience reality itself.

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EVENT BEFORE THE STORY

Storytelling is at the core of my art. It serves as both a guide to what the viewer is experiencing and a window into what came before the artwork was created. It’s as if the artwork captures a moment from a larger, unseen narrative—an event, a space, or an experience that existed beyond the frame. There are elements within the composition that suggest meaning, but they don’t always reveal the full story, and sometimes, they don’t even make it clear that a story exists at all.
What truly makes the viewer feel that there is a story is the mood—the stage that has been set, the tone of the aesthetic.

It must contain emotion, dynamism, and intrigue. It must appeal to the viewer’s curiosity and sense of adventure, inviting them to step into a visual moment that feels like a fragment of time, a scene with a past and a future that can’t quite be grasped. The way they engage with the piece—how deeply they immerse themselves, how much they are willing to suspend disbelief—determines the actual story they take from it.

ABANDONED STORYTELLING

The story itself doesn’t really matter. What matters are the elements in the composition that feel unfamiliar, the ones that don’t quite belong or don’t immediately make sense. That’s where the real story lies. I call this the "abandoned story"—not because it’s missing something, but because no artwork is ever truly complete. Just like the spaces between musical notes allow the melody to be felt, the unresolved aspects of an artwork are what make it alive.

When an artwork is abandoned in this way, it creates a space for the viewer to step in—not to simply “fill in the blanks,” but to engage with the work in a way that transforms it. Their perception, their emotions, and their imagination become part of the piece itself. As they interpret what they see, they adapt the story, adding layers of meaning that shift and evolve each time they return to it. The art is never static. It changes as the viewer changes.

Early in my career, I created art with a clear message, where the story was fully formed before I even began composing the piece. But over time, I realized that storytelling in art isn’t about explaining—it’s about suggesting. While universal themes like love, family, conflict, and transformation are always present in visual storytelling, I find it more compelling when a piece resists easy interpretation. That’s why I use subtle visual clues, distorted perspectives, and layered elements to guide the viewer—not toward a single meaning, but toward a space where they can experience the narrative in their own way.

MASTERING 45 MEDIUMS

Over the years, I’ve mastered over 45 different artistic mediums, both traditional and digital, so that I can execute these stories exactly as I envision them. I want the mood, the colour, the tone, the environment—everything—to immerse the viewer completely. I want them to feel like they have stepped inside the world I’ve created, like they are both the audience and the participant.

Art, for me, is not just about telling a story. It is about constructing an experience—one where the viewer’s perception, imagination, and emotions become just as important as the composition itself.

''True sovereignty lies in understanding fantasy, seeing it not as a destination but as a creation. ''

Art as an Idea

I have always been fascinated by how ideology shapes perception. In my research, I’ve come to see ideology as a structure of meaning, a lens through which we organize truth and illusion, right and wrong, possible and impossible. It is so deeply embedded in our consciousness that we often mistake it for reality itself.

For me, ideology is everywhere. It shapes how people live, what they believe, how they dress, interact, and even how they see themselves. Society constantly presents certain ideas, and people absorb them without realizing it. My work explores these influences and questions them.

When I studied fine art history, I became fascinated by how rulers and leaders used art to communicate ideas. In the Renaissance, kings and governments embedded messages in paintings, using art as a tool to shape public perception. Art is powerful because it doesn’t tell you what to think directly—it suggests, influences, and guides. If an artist understands how to align their work with the cultural trends of their time, they can communicate anything to anyone.

This understanding shaped how I see the modern world. Growing up in the 90s and early 2000s, I was surrounded by advertising, celebrity culture, and corporate branding. I saw how marketing worked—how companies and public figures craft an image to sell ideas. It reminded me of how art was used in history, just in a different form. That’s when I started creating artwork that challenges these ideas.

LAYERS OF RICH DETAIL

I enjoy playing with irony, contrast, and hidden details because they allow me to layer meaning into my work. I’m drawn to the idea that something can appear one way but carry a completely different truth beneath the surface. We live in a world where so much of what we see is curated, edited, and presented in a way that serves a particular agenda—whether it’s media, politics, advertising, or even personal identity. My art is about pulling back that veil, exposing contradictions, and encouraging people to question what they assume to be true.

I often ask myself: How can I disrupt expectation? How can I take something familiar and make it unfamiliar? How can I guide the viewer toward an idea without explicitly stating it? I use symbolism, juxtaposition, and visual cues to create a tension between what is seen and what is understood. Sometimes it’s in the form of satire—highlighting the absurdity of a cultural norm or the irony of a public figure’s persona. Other times, it’s more subtle, leaving just enough ambiguity for the viewer to fill in the gaps with their own perspective.

MAGIC EXPERIENCES

Even in my religious and cultural pieces, I explore how belief systems are shaped and visually reinforced. Throughout history, sacred imagery has been used as a tool to unify, inspire, and control. Whether it’s a religious painting, a political campaign, or a luxury brand advertisement, they all use similar techniques—powerful iconography, emotional storytelling, and a carefully crafted aesthetic that makes the message feel inevitable, even unquestionable. My work looks at these structures and asks: Who created this narrative? Who benefits from it? What happens if we look at it differently?

I CURATE THE REALITY

Essentially, my work is about breaking through the surface—revealing the unseen, questioning narratives, and showing that ideology isn’t just something we follow, but something we can challenge. I don’t believe in giving answers. Instead, I want to create a moment of uncertainty—a space where people pause, reflect, and reconsider. Because when we start to question what we accept as truth, we open the door to new ways of seeing, thinking, and understanding the world around us.

''the artist’s role becomes that of both creator and guide. The art is not just a reflection of their thoughts—it is a path they lay for the viewer to walk along, with different outcomes at every turn. ''

Art with Characters

Characters are one of the most powerful elements in my artwork. They invite the viewer to step into the story, to question the meaning, and to engage with the immersive and interactive experience of the piece. My early exposure to religious art—particularly Hindu mythology, with its gods, angels, and demons set against fantastical landscapes—taught me how art can magnify, elevate, and even mystify a figure. The way these characters were framed within the composition influenced how important they felt. The more space around them, the more gravity they commanded.

At the same time, many religious artworks I studied featured a central figure surrounded by others. Their postures, expressions, positioning, and scale all played a role in emphasizing the significance of the main subject. This technique of contrast and detachment fascinated me. Across all the iconic works I’ve encountered throughout my artistic journey—spanning different cultures, time periods, and styles—the pieces that have left the greatest impact often depict a strong human figure. These individuals, whether real or imagined, represent something powerful. Their presence extends beyond the canvas, reinforced by the storytelling of the artwork itself or even by the way they are presented before we even see the piece—through marketing, legend, or historical context.

This idea of characters being larger than life isn’t limited to traditional paintings. Look at photography, album covers, movie posters, or billboards. They all transform individuals into something mythic, making them appear godlike or otherworldly. Yet, at the same time, art that features people remains deeply relatable. A single facial expression, a gesture, or a posture can spark endless narratives. A character could be joyful, sorrowful, lost in thought, or on the brink of something life-changing. They could be at the beginning, middle, or end of their journey. But no matter where they are, they give the audience an opportunity to connect, to find pieces of themselves within the artwork.

CREATING CHARACTERS

In my Dreamworld and Bluemehndi collections, I have used characters from real people I’ve met throughout my travels across South Asia, Europe, America, and England. I’ve been fortunate to experience a vast range of communities—each filled with individuals who are bold, wild, creative, and resilient. These encounters have deeply shaped my work. I believe the people I meet reflect my own energy, just as I respond to theirs. Having grown up around strong personalities—family members who overcame immense challenges, first-generation immigrants who built new lives in unfamiliar lands—I have always been drawn to those with powerful stories.

Because of this, my art is filled with people: those I know, those I’ve met, those I’ve read about, and those who have influenced or even challenged me. Each character in my work gives the viewer the chance to engage, to form their own interpretation, or to find something of themselves within the story.

It took time to develop the technical skill to present these figures with depth and authenticity. How do you make a character feel real when they exist only in two dimensions? How do you communicate their presence, their energy, without sound or movement? These were questions I had to explore, refining my craft by blending my knowledge of fine art history with modern digital techniques.

I looked to masters like Caravaggio, Dalí, Michelangelo, and da Vinci—artists who made their characters feel five-dimensional. What I realized is that it wasn’t just the figure itself that created this effect. The entire composition—the lighting, the setting, the color, the contrast—was part of the character. The surroundings gave the subject power, revealing their significance through every detail. In my work, the same principle applies. The journey isn’t just in the person; it’s in the world around them. Sometimes, nature itself becomes a character, shaping the atmosphere of the piece. Other times, animals, clothing, or even the sky play a role in defining the subject’s presence. Lighting, color, and texture all contribute to the depth of the figure, exaggerating their personality and making them feel alive.

CREATING ILLUSIONS

This philosophy extends even to my use of AI in generating digital art. While some may question whether AI-generated figures can evoke emotion, I believe that with my experience—and the sheer amount of impactful art I have studied—I can push the boundaries of this medium. By blending AI with my digital and painted techniques, I aim to create something deeply meaningful, something that carries the same presence and energy as the great works that have inspired me.

For me, art isn’t just about creating an image—it’s about bringing a character to life, making them unforgettable, and inviting the viewer to step into their world.

I believe that characters play a vital role in art, offering depth, narrative, and emotional connection. They serve as focal points that guide the viewer’s interpretation, drawing them into the world I create. Whether depicted in paintings, sculptures, digital works, or photography, characters in my art provide a sense of relatability, allowing audiences to connect with them, project their own emotions, and find personal meaning in the work.

VALUE OF CHARACTERS

have created characters that embody universal themes of strength, vulnerability, heroism, and transformation. From my observations, characters often reflect cultural, historical, or deeply personal narratives, making them powerful tools for storytelling. Throughout my journey, I have studied and experienced how characters in art can evoke admiration, empathy, and curiosity. Their expressions, postures, and the way they interact with their surroundings add to the immersive quality of an artwork, making it more than just a visual encounter but a moment of engagement.

Through my practice, I have explored how the positioning of a character, their relationship to the background, and the elements surrounding them influence perception. I have seen how some characters command attention through space and contrast, while others are amplified by the figures and details around them. I use lighting, color, and composition to elevate their presence, ensuring they extend beyond the canvas or digital space and into the imagination of the viewer.

For me, characters are not just figures within an artwork—they are mirrors, windows, and bridges. They mirror aspects of the viewer’s identity, serve as windows into different lives and experiences, and act as bridges that connect emotions, ideas, and cultures. This is what makes art dynamic and interactive rather than passive. My goal is always to create characters that leave a lasting impact, not just as visual subjects but as living narratives that resonate, inspire, and challenge perception.

TO LEARN MORE ABOUT THIS UNIQUE ARTISTIC JOURNEY, CONTACT JAI SOL'S AGENT VIA EMAIL, OR ALTERNATIVELY, VISIT THE 101 CURATION WEBSITE TO BE PART OF HIS EXCLUSIVE CURATION EXPERIENCES.