From pencil, crayon, fine liner, pastel, watercolour & oils to PageMaker, SuperPaint, CorelDRAW, Deluxe Paint IV, Illustrator, FreeHand, Maya, 3d Max Studio, After effects, ZBrush, Cinema 4d & every Photoshop.
MEDIUMS
I focus on blending traditional and digital mediums so that the viewer doesn’t see all the separate parts, they just experience the story, the feeling, and the message in the art.
Drawing people in emotionally and mentally, without them needing to think about the techniques behind it, who made it, or even that it’s a piece of art.
The heart of my work is a mix, where old and new methods, styles and themes come together to form one clear vision. I aim for each piece to speak the human mind and beyond—through patterns, symbols, and beauty. The goal is always to create something that feels emotionally familiar, even if it’s visually new.
Self Help
Bluemehndi Collection 2012 / Illustration & Digital
The mediums
I use contribute
to the overall aesthetic and depth of my work.
Throughout my career, I’ve worked with a wide range of mediums—probably over 50 if I really think about it, especially in the traditional sense. During my time at art college and university, I narrowed it down to about a dozen processes. I was drawn to mediums like fine liner, pencil, crayon, pastel, and watercolour—anything that gave me the freedom to flow and explore expression. I never really gravitated towards paint as much as I did pastel, for example. I spent a lot of time with these mediums early on, particularly during college, where they were all I had access to. I loved experimenting with colours and understanding how different mediums could breathe life into the artwork in their own unique way. Each material carried its own energy, contributing to the overall visual storytelling.
Even in those early days, I was experimenting beyond traditional methods—cutting up materials, layering, placing, and reimagining them on canvas or paper. I was constantly searching for ways to push boundaries, even in sculpture, where I used existing objects, deforming and repositioning them to create something entirely new. For me, everything was a medium back then.
Merging Traditional, Digital, and
AI-Assisted Mediums
It wasn’t until college that I stumbled across a computer class with an RGB computer and a camera. I remember walking into that room and feeling instantly drawn to it. It was the late 90s, and the tools available back then were quite innovative for their time. I just knew I had to explore it. I’ve always had a natural connection with technology—it’s like my mind intuitively understands and evolves with the processes and applications. Once I started using that computer—experimenting with paint software, colour, digital drawing, and capturing RGB photography—I felt like I was heading somewhere completely new. For two years, I immersed myself in that room, spending every possible hour in there. My tutor even gave me a set of keys because he had never seen anyone so committed. I’d wake up early, stay late, and pour all my energy into it. I realised then that my traditional art, where I was already highly skilled—creating beautiful paintings and intricate illustrations—could be translated into pixel form. I could bring the same depth and detail into the digital world. The only challenge was that the technology was limited back then. There were few platforms to showcase digital art, and the process was slow. Animations took forever to develop, and the resolution didn’t quite capture the realism I was striving for. But that was my first taste of blending traditional artistry with digital processes, and I created an entire portfolio that reflected this transition. It was clear even then that I was moving towards merging these worlds.
How Materials Shape Emotional
Resonance and Longevity
The materials I use shape the emotional depth of my work. Some create texture, while others evoke an atmosphere or a certain feeling that resonates visually and emotionally. The beauty of any medium lies in how you use it. If you can effectively express your ideas and vision through the material, it opens endless possibilities for evolution. But after years of working with traditional materials during school and college, I started to feel constrained. I wanted to create Renaissance-style artwork, but not with the same mediums that had been used for centuries to produce those masterpieces. I was looking to bring that same emotional resonance and grandeur into a modern context—using digital tools to breathe new life into that aesthetic. nal depth and storytelling through digital and technological processes. That’s the challenge that excited me the most—and one I fully embraced. During those 16 years of isolation, I spent all my time developing and refining this approach. That was the period when everything came together. I found a way to use technology to create art that, from my perspective, went beyond anything I had seen. I was able to imbue emotion, love, storytelling, and a deeper connection into my work—bringing the past and the future together in a way that felt entirely authentic to me.
The process I follow when conceptualising and executing a new artwork.
In the beginning, there was no structured process—just pure play. Visuals would appear to me through channeling and meditation, always accompanied by a story, often linked to something I had personally experienced or felt connected to. When that visual emerged, my focus was to go beyond the surface and truly understand the core of the story—what was its essence? What did it mean? Why was it important? How could it bring life to others? And most importantly, how could I share it in a way that resonated deeply?
I’ve never followed a strict formula or a step-by-step process when developing a composition. I simply rely on an innate skill—an internal ability to process these visuals and translate them into art. All I’ve ever needed was to fully understand the medium and master it.
Music
Dreamworld Collection 2014 / Illustration, Paint & Digital
Early Inspiration: Caravaggio
and Layered Storytelling
When I first began creating Renaissance-inspired works, I naturally understood composition. I was drawn to the layered complexity of Caravaggio’s art—epic, dramatic scenes with multiple subplots and intricate narratives woven together. His work didn’t just tell a story; it unraveled layers of emotion and detail with every glance. That was the feeling I was always trying to capture. Even music played a pivotal role in my creative process. Music is my muse—I needed it playing constantly while I created. I could visualise how music was built—layer by layer, with different sounds, spaces, and emotions. I understood that each melody, each note, each vibration could curate a specific feeling. The words, the voices, and even the personalities of the artists shaped the music in a completely unique way. I took that same understanding and applied it to my art—seeing how layers, emotions, and stories could be embedded within the composition. An Ever-Changing Process My process is constantly evolving. Sometimes, I sketch with fine liners or pencil, creating multiple versions of the composition. I layer these with watercolour, acrylic, or pastel—experimenting with adaptations until the visual starts to come alive. Since my work is primarily digital now, I create a montage of all these elements, scanning them, editing them, and continuously adding more. I bring in natural elements—textures from leaves, mud, soil—blending them with traditional materials. It’s a constant merging of traditional craftsmanship with natural elements, digitised and refined until the final piece captures that initial feeling I experienced when the vision first arrived.
PERFORMING VISUAL SHOW
Exposure Helps Develop Communication Skills for an Artist.
Lord of the Dance
Maya - i Transmedia Project / Ai & Digital
Channeling Stories Through Perception, Memory & Mythology.
For me, the process isn’t intellectual—it’s deeply intuitive. I naturally ask myself a series of questions as I channel the art:
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What is this?
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What does it mean?
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How do I appear in it?
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Should I care for it?
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Do I need to decide something here?
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How much of this do I understand?
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Is this for me?
These questions unfold subconsciously as I develop the concept. It’s like piecing together a jigsaw puzzle—I start with one piece, and as I create, I sense where the missing pieces belong. The answers reveal themselves as I go deeper into the moment. My curiosity opens up infinite variations and possibilities, and eventually, I’m drawn to one path that feels right. That’s what guides me to complete the piece.
As I refine my work, I incorporate different layers of storytelling. I love the concept of the hero’s journey—a narrative where the protagonist undergoes a transformation. In my art, sometimes the character is the hero, sometimes the concept itself is the hero, and sometimes, the viewer becomes the hero. The unfolding journey might depict the transformation itself, or it might present the moment just before or after. Either way, the narrative creates a deeper emotional connection for the audience. I draw inspiration from countless sources—mythology, philosophy, film, and music. Hindu and Christian mythology, in particular, have deeply influenced my work. I’ve immersed myself in ancient Indian, Roman, and Egyptian philosophies, and I incorporate these concepts into my art. These philosophies offer subtle yet profound ways to tell stories that are layered with beauty and meaning. Film is another source of inspiration. Much like art, film uses composition, movement, and space to evoke feeling. Music, too, holds a special place in my process. I often compare music to visual art—both require an understanding of the space between the notes or the visual elements. It’s in those spaces where true meaning and resonance are found. Leaving Space for the Viewer But just as music thrives in the spaces between the notes, art requires a similar openness. I intentionally leave a large percentage of my work “abandoned,” allowing the viewer’s perception, memory, and imagination to fill in the gaps. I don’t dictate meaning—I let the viewer decide who the hero is, what the narrative means, or whether it’s simply a beautiful aesthetic experience. That space in between creates a dialogue between the art and the viewer, offering endless possibilities for engagement and interpretation.
Crafting Narrative Arcs: The Hero’s Journey
Symbolism and visual cues to deepen
connections
between the art &
the viewer.
Again, this is like a magic spell, really. It's a series of components that create the art, and these components are texture, colour, composition, shape, pattern, and before you can discern clearly what the art consists of, you know, based on your memory and based on the viewer's perception, before that happens, their brain calculates all of the components, and then the mind wants some sort of certainty from that experience, so it creates this almost like concept or a story immediately. It needs to feel safe, it needs—the mind needs to feel comfortable, and the personality also wants to understand what they're seeing, so most of the time, they're trying as best to pick up on the cues that the artist or I have set into the artwork, all the different components.
Head of State
Dreamworld Collection 2016 / Illustration, Montage & Digital
Rather than focusing on the components independently, viewers look for connections that make sense to them. People usually form an idea in their minds initially, and once I’ve communicated with them—whether in person or through a detailed description—they begin to see other perspectives of the art. Their perception shifts from trying to understand it to uncovering layers of growth, evolution, and deeper storytelling. I create artwork infused with symbolism, where each symbol guides the viewer through different expressions of the story. I use geometric patterns and ancient symbols within the composition, sometimes embedded in the blueprint or background. I play with perspective, composition, layering, and lines to engage the brain’s natural tendency to seek balance and connection in visual experiences. Sometimes, I place elements in specific positions, exaggerate certain areas, or enhance textures to create a sense of calm, making the experience harmonious and easy on the eye. Other times, I disrupt that balance, creating chaos or confusion that challenges the viewer’s perception. In the real world, vision is governed by balance, gravity, and natural laws that make sense to the human mind. But in art, there are no such constraints. Like Salvador Dalí’s surreal works, where elongated forms and unfamiliar textures challenge reality, I often introduce elements that defy these rules. This invites viewers to shift their perception of what’s real, encouraging them to see beyond the familiar. By intentionally introducing contrast and unpredictability, I aim to throw viewers off balance, offering a playful yet profound opportunity to perceive new dimensions. My goal is not just to present a visual but to create an experience where perception evolves and understanding deepens.
Filmi Date
Beautiful India Art Collection 2024 / Ai & Digital
Merging Traditional,
Digital, & AI- to Create Immersive & Experiences.
For me, merging traditional, digital, and AI-assisted techniques has never been a conscious decision—it’s something that evolved naturally. I’ve always been deeply connected to traditional art, using fine liners, pencils, pastels, and watercolours in my early years to express myself. But everything changed when I stumbled upon that computer lab in college with the RGB camera and those early paint and colour programs. That moment completely shifted my perspective on what was possible. I didn’t see digital art as replacing traditional methods—I saw it as an extension, another layer that could enhance and expand what I was already doing.
When I started working digitally, I wasn’t leaving traditional art behind. I was transferring everything I had learned about composition, texture, layering, and storytelling into this new medium. I was moving from pigment to pixel. And now, with AI-assisted techniques, it’s the same process—just another evolution that allows me to explore deeper dimensions and push boundaries even further. AI doesn’t replace my intuition or creativity; it amplifies it. I treat it as a collaborator—a tool that refines, suggests, and sometimes surprises me with possibilities I hadn’t even considered. My process is fluid. I might begin with sketches, hand-drawn compositions, or even incorporate physical elements like leaves, soil, or textiles into the initial layers. I scan them, digitise them, and refine them through digital processes, layering in elements that can’t be achieved through traditional methods alone. Once the foundation is established, AI-assisted techniques come into play, enhancing details, suggesting variations, and often introducing unexpected nuances. But no matter the process, the heart of the work remains the same—it’s about capturing the essence of the story, ensuring that every layer, whether physical, digital, or AI-assisted, serves that emotional and narrative purpose.
For me, authenticity and emotional resonance don’t come from the medium—it’s all about intention. The tools I use are just that—tools. What gives the work its emotional depth is my ability to stay connected to the original feeling that sparked the idea. Every piece I create begins with a visual I’ve channeled—something that emerges during meditation or reflection. But it’s never just an image—it’s a story, an emotion, a moment deeply tied to something I’ve experienced or witnessed.
As I develop the piece, I’m constantly asking myself:
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What is this about?
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What is at the core of this feeling?
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How does this connect to something universal that others relate to?
Ensuring Emotional Resonance and Authenticity Across Mediums
Fathers Day
Bluemehndi Collection 2012 / Illustration & Digital
I’m not just creating a visual—I’m constructing an emotional landscape that the viewer can step into and explore. Every medium I use—whether it’s pencil, pastel, digital layering, or AI-assisted refinements—serves that deeper purpose. Even when I’m incorporating natural elements or experimenting with geometric patterns and visual cues, I’m doing it with the intention of creating a space where the viewer’s subconscious mind can engage with the narrative.
I deliberately leave space in the composition for the viewer’s perception to breathe, allowing their own emotions and memories to fill in the gaps. That’s where the real magic happens. I’m not imposing meaning—I’m inviting the viewer to discover it for themselves. And that’s why, regardless of the medium, my work maintains a deep sense of authenticity and emotional connection.
Alight City
Dreamworld Collection 2015 / Illustration & Digital
When I create, I don’t want the viewer to see the individual pieces. I want them to feel the whole. My goal is to create an experience so immersive that the technical components disappear. This requires a deep understanding of how the human mind perceives, processes, and connects with visual information. When someone looks at a piece of art, their brain is doing a thousand things at once—calculating textures, colours, patterns, and shapes—trying to make sense of what it’s seeing before the conscious mind even registers it.
Blurring Boundaries to Create Seamless, Immersive Narratives
I play with that process. I layer in contrast, symbolism, and visual cues in a way that bypasses the conscious mind and taps straight into the subconscious. I use ancient geometric patterns, symbolic cues, and perspectives that create a sense of harmony while introducing just enough imbalance to keep the mind questioning. Sometimes, I align the composition to make it easy on the eye—creating a sense of calm and comfort. Other times, I deliberately disrupt that balance, introducing tension, curiosity, or confusion that compels the viewer to pause and look deeper. But the ultimate goal is always the same—I want the viewer to lose sight of the process. I don’t want them thinking about the layers, the digital enhancements, or the AI refinements. I want them to be so immersed in the story that they forget how it was made. It’s like listening to a beautiful piece of music—when you’re lost in the melody, you’re not thinking about the individual notes, the instruments, or the recording process. You’re just feeling it. That’s what I want my art to do. I want people to get lost in the narrative, to experience it in a way that transcends the physical components and taps into something deeper—something timeless and universal.
The merging of traditional, digital, and AI techniques isn’t just about aesthetics—it’s about creating an immersive narrative where all the layers serve a singular purpose. I begin by grounding the artwork in something tangible—a sketch, a hand-drawn pattern, or a physical element that anchors the piece. This traditional layer holds the emotional weight and connects to something primal.
When I move to digital, I’m not erasing that initial connection—I’m enhancing it, adding new dimensions and textures that elevate the story. AI comes in as a collaborator, offering possibilities that expand the original vision. It refines details, suggests variations, and sometimes introduces ideas that surprise even me. But AI never dictates the process—I use it intentionally, ensuring that the heart of the work remains intact.
The result is a layered, immersive experience where the viewer isn’t aware of the transition from one medium to the next. They’re not thinking about pigment, pixels, or AI algorithms. They’re lost in the narrative, feeling the story unfold in a way that goes beyond the visual. And that’s where the real alchemy happens—when the boundaries between mediums dissolve, and the art becomes something greater than the sum of its parts.
Merging Layers:
From Tradition to
AI Without Losing Soul.
Liberty
Liberation Street Art Collection 2022 / Ai & Digital