Q.
Why Art?
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From a young age, I sensed that my imagination was operating on a level I couldn’t articulate. It wasn’t just creativity; it was an alternative way of experiencing the world, of everything outside of me via my senses.
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This adaptation felt deeper and more expansive than the static, mundane reality that appeared around me. I had a clear idea of what it all fundamentally was, from my exposure to culture, society, school, language, and conditioning, it was known as real life, however, I also had access to something else a heightened awareness, a five-dimensional reality in my mind where colours, sounds, and moving visuals created endless possibilities of almost everything that I was experiencing. I guess I thought all people had this alternative experience and I often tried to make sense of it by thinking it was some other way for me to understand the world due to my constant challenges as a child with learning and communication with others.
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My only way to express my heart & mind.
There were clues, however, that I discovered when at school, especially when drawing or painting, that I was able to somehow share with others what I imagined as that alternative life or experience of the world, and they would respond to it and then me in unique ways, different to how I believe they perceived me normally. I somehow changed them or their relationship with me by showing them my other reality in the art. This profound realisation was crucial in my awareness of how art has the power to change experiences, people's thoughts and their behaviours. Through these moments, I understood that I could see art in my mind and then show it to people, and something new happened - they became a recognised something about me that only they could see by immersing themselves in my creativity. It was like I had discovered a new form of language and magic - it felt incredibly empowering but also frightening as I had no understanding of where it would lead or if the world outside of me would value, appreciate and experience it. ​ I was fortunate to have been born into a family with diverse spiritual beliefs and practices from hindism, buddism and christianity. I was immersed in endless experiences of these rich and detailed faiths, via rituals, daily worship, literature, music, narratives, mythology, and art, yes art. The type of art that was fantastical in style and composition, often depicting otherworldly beings, stories and ideas. I feel this incredible exposure to this art and the metaphysical aspects of its origin stirred my imagination further and almost forced it to expand, to know of visions that don't exist in my reality. We can also exaggerate reality in all forms, and in particular, visually, to almost curate an aspirational alternative to everything. Also, religious art often conveyed historical and future events which further compelled me to dive deeper into art, it was like there was no timeline in art, no rules, and no limitations to what could happen, unlike real life with its very fundamental laws that prevent us from flying through the sky or creating new worlds with our hands or connecting with God. My thoughts at the time were - well if the grown-ups in my home and community regard their faith as meaningful, special and the ultimate form of connection to a higher power and art they see which depicts details relating to their faith in the form of drawings, illustrations and paintings, are drawing them closer to viscerally experiencing their faith, almost actualising their experience of their faith in forms that are familiar to them through art. It's only when you become aware of how visual art is present to further communicate a story, in particular religious ones, that you truly understand the power of art. It can show us all something and we then see it from our imaginations, and it creates feelings, emotions and experiences beyond us. It's a viable thing in the world, it means something, it's used as a valuable resource to articulate something and can help or guide people to see things beyond their vision, thoughts and consciousness.
Q.
Why Now?
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I realised that if I couldn’t express myself creatively, even just to myself, I’d be trapped in a linear reality dictated by rules, regulations, and outcomes predetermined by society. Without art, there’s no innovation, no life, no self-expression, only conformity. For me, that wasn’t living; it was existing. Art became my vehicle to transcend those limitations, a way to connect with the magical and mysterious aspects of life. My upbringing, steeped in both Christian and Hindu spirituality, introduced me to ancient stories, metaphysics, and the idea that the physical world is only a fraction of what exists. This belief shaped how I approached art—it wasn’t just an act of creation but a connection to something greater, something supernatural. I trusted my imagination and its ability to show me alternate perspectives of the world and people. I believed in the insights it gave me, insights I now call "insight art." From the age of four or five, I knew who I was going to be: someone who creates, someone who shows the world that the imagination isn’t just a dream but a reality waiting to be realised.
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Movies, TV, music, literature, these were all art, but no one spoke of their power to compel curiosity, inspire life, or create a deeper connection to the universe.
What’s happened now is a disconnect. People have stopped being in awe of the imagination and their creativity. They’ve become dysfunctional robots, trapped in an outcome-based society that rewards success only as it serves capitalism and consumerism. Without the freedom to create and make mistakes, people lose control of their destiny, instead becoming slaves to the transactional nature of survival. Imagination and art, once tools for exploring new perspectives and evolving realities, are sidelined as luxuries. Art is more than escapism. It’s at the core of play, exploration, and experimentation. It allows us to test and try the world, to project our true, authentic selves into it, and to create something meaningful and beautiful. It’s deeply connected to the energy of creation, new ideas, new ways of living, and continual growth. The world doesn’t need imagination in desperation; it needs access. It needs leaders, anomalies, and frames of reference: people willing to take risks and show others what is possible. Imagination must be a driving force, connected to personality and purpose, empowering individuals to see and invent new ways of living. Art isn’t a luxury; it’s a fundamental resource for flourishing, unlocking potential, and for shaping the world in ways that are beautiful, innovative, and alive.
Q.
Where does your artistic inspiration come from, and how would you describe the process of translating your inner world into visual art?
Art as a Reflection of Inner Worlds
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My art is a reflection of my experiences in the world and my continual observations of how I feel, perceive and evolve in my inner world, that mysterious place between my conditioned self and consciousness state of self. It’s from there where I witness visuals, stories, ideas and magic that I aim to translate into art.
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This duality was both a blessing and a challenge. On one hand, it allowed me to see beauty and meaning where others saw none. On the other, it left me feeling disconnected from those who couldn’t understand this way of seeing. It wasn’t until much later that I realized this tension was not a flaw, but the very essence of what it means to be an artist. On the other, it left me feeling disconnected from those who couldn’t understand this way of seeing. It wasn’t until much later that I realized this tension was not a flaw, but the very essence of what it means to be an artist.On the other.
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Q.
When did you first realise you were an artist, and how did your relationship with imagination begin?
I Didn’t Know It Was Art at First
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I knew I had this incredible way of seeing things in my mind, vivid, fantastical visuals and adaptations of real-life moments that would evolve into something far more profound.
From a young age, I sensed my imagination was operating on a level that I couldn’t articulate. It wasn’t just creativity; it was an alternative way of experiencing the world, one that felt deeper and more expansive than the static, mundane reality around me. I could discern the world as it was, shaped by culture, language, and conditioning, but I also had access to something else, a heightened awareness, a five-dimensional reality in my mind where colours, sounds, and moving visuals created endless possibilities.
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Q.
When did you first realise you were an artist, and how did your relationship with imagination begin?
A Disconnect from the Ordinary
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Growing up, I often felt trapped between this inner world and the outer world, feeling limited by language and traditional forms of expression. I struggled to articulate my thoughts in a way that others could understand, and this disconnect left me feeling isolated. Words seemed insufficient to convey the complexity of what I saw and felt.
In school, creativity was stifled by rigid systems that valued conformity over exploration. At home, practicality took precedence over self-expression. I began to realise that the world around me was ill-equipped to accommodate the kind of imagination I carried. Art, though unacknowledged at the time, became my refuge, a silent companion that allowed me to process and communicate what words couldn’t.
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Q.
How did your inner world shape your experience of reality, and what impact did that have on your understanding of being an artist?
The Dual Reality of Life
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My experience of life was a constant negotiation between two realities: the tangible, structured world of daily life and the boundless, dynamic universe in my mind. While one was defined by routine and expectations, the other was a space of infinite potential, where every object, sound, and moment could transform into something extraordinary.
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This duality was both a blessing and a challenge. On one hand, it allowed me to see beauty and meaning where others saw none. On the other, it left me feeling disconnected from those who couldn’t understand this way of seeing. It wasn’t until much later that I realised this tension was not a flaw, but the very essence of what it means to be an artist.
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Q.
Was there a defining moment when you recognised your imagination as art, and how did that realisation shape your path?
The Revelation of Art
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The moment I realised that this inner world was, in fact, art, everything changed. Art was not just a skill or a hobby, it was a way of being, a framework for understanding and reimagining the world.
It gave me permission to explore the depth of my imagination without apology, to transform my perceptions into something tangible that others could experience. Art became the bridge between my inner reality and the external world. Through it, I could express not just what I saw, but how I saw it. Every stroke, every colour, every composition was a window into that five-dimensional reality I carried within me.
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Q.
Can you describe how your artistic journey evolved from childhood visions to your current use of digital technology in your work?
Pigments to Pixels
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It all began with the visuals I used to see as a kid, those incredible, vibrant images that would appear to me like visions as if they were speaking directly to my soul.
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I'd see, something tangible, took years of evolving understanding and technique. In the beginning, it was about replicating what I saw, capturing that feeling, that spark. But as I grew older, as I became more aware of the profound nature of life and its layers, I realised there were infinite possibilities to explore in how I could bring these images to life.
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It wasn’t just about creating for the sake of creating; it was about crafting something that resonated deeply with me. There was a confidence that grew within me, not just hoping the art would speak to others, but knowing that if I created it authentically, it would. The more I worked with these mediums, the more I understood that it wasn’t about trying to make art that looked a certain way or fit into a predefined mould—it was about creating something true, something that could evoke a feeling. At the heart of my process was a fascination with technology, specifically digital technology. I started using tools that were traditionally used for graphics or two-dimensional work, but I wasn’t just creating flat visuals. I was manipulating these elements, bending them, stretching them into something more. I wanted to create works that could shift in space, appearing to have three, four, even five dimensions. I wanted the viewer’s perception of the artwork to change as they engaged with it. Every piece had to be dynamic, moving, evolving in its form, as the viewer did. The way I saw it, I could create a two-dimensional piece of art, but through colour, texture, and layering, I could add so much depth and complexity that it would invite the viewer into an entirely new world. I would blur certain parts, refine others, and use a variety of techniques to manipulate the perspective, allowing the piece to unfold as you looked at it, revealing more the longer you spent with it. The art wasn’t static—it was alive.
Q.
Why do you believe art is important, and what role does it play in your life and for others?
Why It Matters
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Art, I’ve come to realise, is not a luxury or an escape, it’s a necessity. It’s the lens through which we can reinterpret life, breaking free from the confines of convention and rediscovering the magic in the mundane.
For me, it’s been a lifeline, a way to connect to myself and to others in a world that often feels disconnected and impersonal.
Through art, I’ve learned that imagination is not something to be hidden or suppressed, it’s the most authentic expression of who we are. And in sharing that imagination, we invite others to see the world not as it is, but as it could be, a place of infinite possibilities.
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Q.
How have cultural influences and your early experiences shaped your artistic vision and creative process?
The World of Influence
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What influences me is very differenct from what inspires me. I guess a better way to express influence would be what i experienced, what ive seen, felt and absorbed has always and is always shaing how i think and create. From my engagement, or experiences with family, culture, comunity, society, art and even the quiet moments of curiosity, of challenge, of pain and endurance. All of it has played a role in how I perceive reality, how I understand myself and how I see the world and is in my expression as an idea, or concept and theme.
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From early on, my life was surrounded by vibrant cultural aesthetics and stories that were anything but ordinary. These influences became the foundation of how I view and create. Nothing at home felt normal. It was almost supernatural. Every thought and idea, yes, we were living in our current reality, but there was this deep spiritual context that surrounded me. Through art, literature and music, particularly from South Asian culture and Hinduism, I was presented with ideas that felt beyond the ordinary.
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They were alive with stories. Not the kind that were logical or straightforward, but stories that felt fantastical, layered and emotional. Our house was filled with visual interpretations of these ideas. The patterns in the fabrics, the bold colours in clothing, the detailed imagery in books and art, everything told a story. You could say it was spiritual artwork, especially from Hindu Vedic culture. It was not just beautiful and vibrant. It was incredibly thought-provoking. The compositions always had intention. There was balance but also disruption. Something that would pull your attention in then challenge your expectations. That disruption made you look again. It made you feel something. It made you interpret. There were subtle references everywhere, almost as if the artwork respected your intelligence. It was not there to spell everything out. It was there to be navigated in a different way. So that early culture, South Asian, particularly Hindu culture, became deeply influential. It shaped how I imagined. It showed me that there is more to life than what we currently experience. There is an adaptation or interpretation, possibly even a more optimised or poetic version of truth, that exists either in another dimension, in an afterlife, or even here, but one we cannot yet fully access with our current consciousness. Outside of home, the culture was different. British culture, particularly in my early years, was more structured. I went to a Church of England school, and yes, there was talk of an afterlife, spiritual ideas, beings and Christian values. But visually, aesthetically and emotionally, it did not resonate in the same way. It felt flatter, more two-dimensional, more literal. And I do not say that to diminish it. In fact, the deeper I looked, the more I realised that British culture, especially in its older traditions, held a quiet magic too. England has a rich spiritual history. Old belief systems that were deeply connected to the land and to nature. Over time, as society evolved, those energies shifted and took on different forms. But you could still feel that behind the surface of modern culture, there was symbolism, mysticism and ancient knowledge. Beyond the cultures I personally experienced, I became fascinated by culture in general as a human concept. Popular culture, living culture, conditioned culture. I started to notice how much of it had been designed. Created. Constructed like art. A framework handed to us, telling us how to live, what to value and what to believe. And I remember thinking from a young age, who made this? Who decided this? And what does it leave out? Because while that constructed world can give us identity, it can also limit our perception. It can dull our natural ability to see the world for what it really is. It can keep us looking at life through a small, overly simplified lens. That is when I started to look for clues. I started paying attention to the people who were creating things in the world. Even in the commercial space, you could sometimes feel that something deeper was driving the creation. There were people using their creativity to bring nature into form. Real ideas. Authentic work. Something with soul. I started realising that art was not limited to painting or sculpture. Art was everywhere. In the way someone told a story. In the way someone designed a space. In the way someone built a business. There were creators trying to touch people’s senses. To move their spirits. To remind them that they too were artists in their own way. That they too belonged to this family of creative expression. And then there was the other side, the side of culture that felt fake. Designed to sell something. Created to uphold an illusion. That kind of art did not connect. It did not serve. It distracted. It gave us the impression that something greater existed, but that we could not access it ourselves. Instead, we were encouraged to consume it, buy into it through products, trends and curated identities. But we were not being empowered by it. We were not being reminded of who we really are. And that difference mattered to me. Because on the one hand, you had people creating from the inside out. And on the other, you had systems creating from the outside in. So all of this shaped my understanding of culture. And through that understanding, it influenced what I create. Not necessarily how I create it, but what it explores, what it evokes, what stories it tells and what feelings it reaches for. In a way, I want to bring the two together. I want to make work that can live in a conceptual space. That can appeal to the logical mind and the surface-level viewer. But I also want it to carry something organic. Something that touches the sensibility of those who are looking for more. Something that reaches deeper into our shared human consciousness. That is the balance I try to hold.
Q.
How did your curiosity about the world influence your approach to art and your choice of digital media?
From Curiosity to Creation
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As I grew more curious about the world, I realised that real understanding wasn’t something I could find in books or external sources. It was emerging from within me. My intuition became my guide. It showed me that my art had to come from my own perspective, not just as a reflection of the outside world. And once I embraced that, my work became authentic, unique and impossible to replicate.
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That same curiosity pushed me beyond art into exploring everything from politics and psychology to religion, love, sex, the human condition and belief systems. Every question I had, every curiosity I followed, sparked a visual in my mind. And as I explored these ideas through reading, conversations and looking at art that reflected those same themes, I started to see a pattern. So much of it was rooted in the same questions we've always asked. The human collective is still trying to figure out the same things. We still haven’t fully arrived at the answers.
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When you look back through the history of art, you begin to see that questions about existence, purpose, truth, reality and spirituality have always been there. They're not new. They're ancient. These questions have shaped the way humans create. Art has been one of the clearest ways of showing that we’ve always been searching. That we’ve always been trying to understand what this life is, why we are here, what we are connected to. So it wasn’t the art that inspired me. It wasn’t the world. It was the questions that humans have always had. That’s what moved me. And it still does. When I was a child, I was exposed to so many different worldviews. My family came from different parts of the world. I inherited culture, religion, belief systems, all of which gave me a wider perspective. Religion in particular introduced me to ideas about otherworldly energies, unseen entities, and dimensions of reality that existed beyond what I could physically access. At the same time, I was growing up in a small environment, and I became very aware that there were places in the world I hadn’t experienced yet, lives being lived that were completely different from my own. That contrast made me more curious. Not just about what was around me, but about what existed beyond it. What has the world really discovered? What do we actually know? Some cultures, like those in South Asia, have deep roots in metaphysics, spirituality, energy, the relationship between nature and consciousness. They’ve held these understandings for over ten thousand years. Other cultures, especially more modern ones in the West, are rooted in psychology and mental frameworks. Each one is responding to its environment in its own way. So my curiosity wasn’t just about the art. It was about the systems of thinking that shape how people live and create. I started to notice that some of my own mindset and behaviours were born from natural thinking — connected to nature and intuition — and others were born from more conceptual, constructed thinking. In many ways, I felt like I was living between two realities. One rooted in nature. One built from ideas and structure. And I kept asking myself, where is the beauty? Where is the deeper connection? I came to realise that the beauty lives in both. And my curiosity started to lead me towards finding ways to bridge those two worlds. That’s what brought me to digital media. I was deeply inspired by ancient art, by the stories and emotions it could carry. But I wanted to find a way to take that essence and express it through a more modern form. I felt that digital tools gave me a new kind of language — a way to tell these old stories, to carry that same emotional weight, but in a format that could reach people today. People who move faster, who think differently, who want something that feels familiar and new at the same time. I also had mentors and lecturers early on who helped me see how digital technology was going to shape the future. They showed me that if I could translate my creativity into digital form, it wouldn’t be limited to a flat surface. It could evolve, it could be interacted with, it could move beyond just the visual and into other dimensions. So to answer the question clearly, it wasn’t just the world that influenced my approach to art. It was my interest in how curious different people are. Different tribes, different cultures, different times in history. What are they searching for? What questions are they asking? And can I create art that captures that shared curiosity, that longing to understand who we are and why we’re here? That’s what drives me to create. That’s why I chose this path.
Q.
How has the art you’ve encountered throughout your life influenced your perspective on society and your own creative expression?
Art as a Mirror of Experience
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I would say that the artwork I’ve encountered throughout my life has reflected not only cultural stories and philosophy from the past and ideas about magic, the supernatural and metaphysical, but it’s also given me insight into everyday life. Everyday living for people. Their struggles. Inequality, prejudice, and societal restrictions.
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I’ve been fortunate to have had access, or given myself the access, to look at a lot of diverse styles from around the world. And when seeing these different forms of creativity, you see different forms of human experience. And each human experience embodies a very simple story of life, or a past experience of life, or a journey of a person, or a journey of people. And through art, we get to experience almost a historical path to understanding and awareness of that.
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So throughout my life, as I’ve been more curious about different styles of art from different parts of the world with different cultural origins, I’ve recognised that they usually are a reflection of society. Some are just an abstract reflection of life, while others are a deeper exploration of human existence, including how we can consciously experience life through our senses, through our minds, our brains and through quantum energy.
There have been a lot of learnings. I’d say early on in life, when I was exposed to religious art, both Renaissance and Indian spiritual art, I developed a deeper context to appreciate how art could combine simplicity and detail to tell very profound universal stories through symbology and subtlety. That became very clear to me, and I guess it really influenced me. But what really shaped my perspective on society wasn’t necessarily the art that was created to show society. In the Renaissance, for example, I studied it for five years, researched thousands of artists, and regardless of the time and era they were born in, not all of what they created was accurate. Some of it was, I’d say, sophisticatedly composed and created to tell a specific story or to serve a particular ideology. That’s what most art was used for early on. It was a way to convey stories to the public. Political, spiritual, generally a way to market an idea. And those pieces, and those artists who were patronised quite heavily and rewarded, are the ones that we’re currently exposed to in the history books. So there are several different ways you can look at this. Some artists are genuinely here to convey objectively what they see in the world, in society. And some are paid to create ideas and stories that almost influence society. So art gives you a complete awareness that there is a bigger picture, a bigger pattern in play, or some bigger power in play. The psychology of people and their lives, and how they access creativity, is limited. But when they are exposed to it through art, music, literature, there are a lot of socially influenced ways to live. Conditions set. Laws that govern the creative outlet. So what I would say is that I haven’t been influenced by the art, but I can see what they were trying to do. And when you become aware of who patronised the art, who funded it, where the artist was living, or what they were trying to convey, what group of people they belonged to, you soon start to form an idea of what the purpose of the art was beyond it just being this aesthetic beautiful thing.
Q.
How has your lifelong curiosity and exploration of different perspectives influenced your creative practice?
Life as a Living Archive
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My childhood felt like a work of art in itself. Every moment seemed worth recording, and I developed a habit of mentally “pressing record” on experiences I found meaningful. I kept journals for over 25 years, not just about my thoughts but also filled with questions and reflections gathered from others.
This curiosity drove me to seek understanding. I asked people questions about society, creativity, and life itself. Sometimes the answers were mundane, but often, they opened doors to new insights. This process of gathering and reflecting shaped my perspective, allowing me to integrate these diverse experiences into my creativity.
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Over time, my curiosity led me to explore beyond my immediate surroundings. I engaged with Christian churches, Buddhist monks, Hindu temples, and even Freemason circles. Each offered a different lens through which to view spirituality, creativity, and human connection. My interest wasn’t limited to spiritual or cultural practices. I became fascinated by people who chose to influence the world in significant ways—artists, businesspeople, and creators who acted with intention and purpose. I wanted to understand how they thought, what drove them, and how their actions impacted the world.