Three Dimensional Canvases

VASUDHAIVA KUTUMBHAKAM/ BIHAR MUSUEM BIENNALE EDITION 2

“The world is one”

The canvas is a 46 inch in diameter circle which is the base that is then enclosed in a dome

both of which are representative of “the world”.

On the base of this canvas is the map of the world on the top and a group of people from different ethnicities at the bottom to reiterate the fact that there is unity in our diversity.

We all look different but we are all the same.

Central to this piece is a massive human heart whose tentacles extend over the world, embracing it in the oneness of one love.

Also central to this piece is the astrological map of the universe that vibrates throughout all beings living on this earth.

The people, the heart, the world are all connected by hundreds of little dots signifying our inter connectedness.

These dots are significantly Bindi’s a mark of India and the third eye awakening.

The people chosen to represent this piece are no other than famous artists who have passed through this world

and left their undeniable power through art…...

although they are not a part of the world anymore, they live through their work signifying the power of art

long after the person is gone.

The people of this piece and the world are held together by a golden honey comb with hundreds of bees buzzing around them

significant of a thriving ecological system.

At the top of the collage appears the title of the piece “vasudhaiva kutumbhakam”

in the same material as the world map that appears below it,

to almost look like pieces of the world.

These are placed upside down encasing the canvas to signify the fragility of the world and eco system

and the need to work together as one to maintain it and see it flourish.

The dome is encased in hundreds of vintage botanical plants and flowers such that from a distance all you see is

this black and white forestation of flora and fauna in perfect balance encasing the world.

The lack of color here in the botanicals is significant of the fact that the world and its ecology and its environment

is each of our responsibility.

We must all do our part individually and collectively to see it thrive.

Also visible is the 10 avatars of lord Vishnu who encase this dome preserving this perfect ecological balance.

The bee’s and insects buzzing about are significant of how this is a perfect world where there is a balance

between the ecology and environment

and the entire world is thriving …. Together…. As one.

AGRADOOT: WOMEN AS AGENTS OF CHANGE/ART ALIVE GALLERY

AGRADOOT DEVI

A woman who is staring right at you with an unwavering gaze,

with hundreds of matchsticks as hair,

a necklace of diamonds,

encircled with music of her past.

Holding her heart in one hand

and the key in the other.

Encased in a dome of roses

Agradoot devi is the pioneer of her own life,

her own choices,

her own destiny,

she holds her own key

and is the one to unlock her life.

The base is a thali

significant of the role of a woman as a nurturer and maker,

qualities that are inherently a part of her very being.

DEVI

Written in our sacred texts,

Through time

The portrayal of a woman as a goddess….

We have so many different names and forms.

In this piece my goddess Durga is in the form of a fish, bringing a message of hope and empowerment to make right choices

The Bindi, a mark of an Indian woman

used as an element of adornment through the entire piece,

in all its colorful glory.

Encased in botanical flowers signifying beauty, life and growth.

NIRMAATA DEVI

Woman as a creator.

With an astrological map embedded in her chest,

Encircled in the circle of life

each person that comes through each woman has their own destiny,

they choose who they come through,

we as women are the vessels of this creation.

Surrounded by 42 monarch butterflies,

a symbol of transformation, renewal and spiritual growth.

Outlined with bindis,

the mark of an Indian woman

the third eye, ajna chakra, helping its wearer to access her inner wisdom.

Enclosed in a dome that is encased in botanical plants that hold an embryo,

signifying growth, spark of a new life.

CREATION & DISSIPATION/ART OF INDIA (EDITION 3) BY TIMES OF INDIA

DYPTICH

SIZE: 3FT X 3FT (each)

MEDIUM: mixed media collage and assemblage on wood board enclosed in a clear acrylic box

We are nothing but a collection of cells when we are first conceived.

We think we have all the answers but the two most important questions….

when will we get here and when will we leave remain unpredictable.

The womb

A place of nurturing, a place where life is grown…

“In every phenomenon, the beginning remains always the most notable moment.”

—Thomas Carlyle

These two pieces of work delve into the magic of a woman’s womb where life is created

or in some cases the cells dissipate and do not lead to the creation of a life….

The two separate collages depict creation on one side and dissipation on the other…

Life & death

At the centre of the piece is the pelvis, emerging out of a flower enclosed within a casket of roses,

white to signify purity and innocence much of what the beginning of life hands to us.

And on the opposite the red rose casket that is symbolic of love and grief.

The use of Bindi’s the mark of an Indian woman, in this case symbolic of tiny little molecules

working together for the creation of a life form.

In the first collage these are the colours of the rainbow, whilst in the second they and black and red.

Each casket within which lies the womb is surrounded on all four sides by the

sacred geometrical astrological map of the universe that is indicative of how our destiny

to enter and leave the world is not in our control.

The background is a tiling of a woman’s uterine cavity created by the use of image transfers

of a medical sonograph, giving the experience of being “inside the womb”

43 monarch Butterfly’s symbolic of transformations and hope during dark times & new beginnings…

43 is the number for manifestation of your desires by striving towards them by being motivated and being true to oneself.

Each of these collages are enclosed in their own box that is a botanical extravaganza,

surrounded by flowering plants, signifying love, faith and hope….reiterating to oneself that …

The universe is the ultimate decision maker and we are bound by the decisions it makes for us.

Life and death….

Not in our control…

but with faith we move forward knowing that the universe has our back….

The universe is working for us not against us ….

and with that faith we delve into each day of the time that we have here….

with gratitude for all that has been and hope for all that lies ahead.

THE GIFT/BETWEEN THE STRANDS, TIME BENDS AND WARPS THE SPACE

MEDIUM: Mixed media collage and assemblage enclosed in a clear acrylic capsule.

SIZE: LENGTH: 35”, WIDTH: 17”HEIGHT: 10”

YEAR: 2025

This piece is a time capsule of dreams, wishes, transformation and the gift of life…

The work emerges from the artist’s own desire to have a child, she has created a time capsule:

a marker of a particular season of life in which all thoughts, hopes, and anxieties seem to circle back to this singular,

unfulfilled yearning.

This piece reflects the precarity of this longing,the uncertainty, the cycles of hope and loss, the quiet grief

that shadows the dream of creation.

The toilet seat cover, in this work, becomes a canvas.

A surface typically associated with waste, abjection, and the most private of human functions is re-situated as a site of

expression and reflection.

Thus, the artist elevates what is usually discarded, insisting that even in hardship and mess, there is dignity, beauty, and meaning.

An object designed to mediate between the body and its own release, both shielding and exposing, both utilitarian and disposable.

By using it as a canvas the work asks:

what happens when we allow the humble, the overlooked, and the stigmatized to bear beauty, image, or meaning?

There is a paradox here: the seat cover protects against contamination, yet it itself is deemed unclean.

This duality mirrors how we often treat what is uncomfortable in our lives….the necessary processes of decay, release, and transformation.

The toilet seat cover, usually hidden and unspoken of, is here elevated into visibility, insisting that

even what we discard can be a medium of creation.

It collapses boundaries between the sacred and the profane, reminding us that transcendence is not elsewhere,

but emerges precisely through the most ordinary and humbling acts of being human.

On this toilet seat cover develops a fertile eco system encapsulated by the capsule that is surrounded by bryozoans.

(bryozoan ‘s are small invertebrates that expand from a party of one into a colony of thousands showing the sign of a healthy eco system)

Within which you can see floating some human embryos.

Within the piece is a garden of roses and butterflies all flourishing in this time capsule growing on this toilet seat cover.

ELEMENTS OF THE PIECE

On one side you have the human heart, on the other a dream catcher.

Layered on top in a circle you have hearts and spades (significant of the cards that each individual is dealt in their lives)

enclosed within the flower of life, surrounded by a hexagon pattern

The use of hexagon cut outs signifying harmony and balance, male and female energy, strength and luck.

And on the left, you have the astrological map of the universe.

Significant of the map that the universe charts out for each one of us within our own time capsules.

On top of this layer, you have the third eye chakra on one side symbolic of the unconscious mind… associated with intuition, insight and spiritual awareness.

and two twin embryos within a diamond shape held by black and white rose botanicals on the other…the diamond being the feminine principle.

And last you have on one side the flower of life representative of the cosmos and the divine union of masculine and feminine energies encircled within the circle of life

and on the right side a club (the masculine principle) within the circle of life.

Within the paradoxes of this piece…

The abject and the sacred,

The mundane and the transcendent

lies the heartbeat of the piece.

The artist’s dreams are not extinguished by struggle;

rather, they are crystallized within it.

Just as the lotus grows from mud, so too does her art insist that life, however difficult, carries the possibility of renewal.

The work becomes an offering,

a prayer to the universe,

asking that the dream of motherhood,

of new creation,

might yet become a reality.

ENNEAPTYCH OF LOVE/ BETWEEN THE STRANDS, TIME BENDS AND WARPS THE SPACE

SIZE: Diameter of plate: 14.7”

MEDIUM: mixed media collage on plates that are then enclosed in acrylic domes.

YEAR: 2025

This 9-part series, an enneaptych with its canvas being an Arabic sharing plate, enclosed in an acrylic dome.

The artist has recently embarked on a new venture that now has her between Goa where her heart is and Dubai where

she is hopeful that her work will flourish.

These are the first pieces of work that have been created since her move for an exhibit and they are like diary entry’s

reflecting on the concept on what love is.

Love Is …

This series of plates reimagines the Arabic sharing plate an emblem of generosity, unity, and togetherness

as a canvas for exploring the many facets of love.

In Arab culture, a shared plate is more than a vessel for food; it is a vessel for connection.

Here, each plate becomes a vessel for a story, for longing, for the artist’s lived experiences,

and for the universal questions of what it means to love.

The works speak of love as fragile and resilient, ordinary and transcendent, painful and redemptive.

They traverse a spectrum from the clinical struggle of IVF to the intoxicating pull of addiction,

from the grounding of sobriety to the vitality of health,

from the fertility of the Green Man to the devotion of seahorses,

from the courage to take chances to the anchoring lifeline of art itself.

Each plate is a meditation on how love manifests in bodies, in choices, in rituals, in dreams.

Together, they form an enneaptych of what love is:

Through collage, packaging, sacred geometry, and personal symbolism, the plates weave the intimate with the universal,

turning private struggles into shared reflections.

Love Is … affirms that love is not singular. It is layered, contradictory, and ever-evolving. It is both personal story and collective truth.

Like the shared plate at the heart of the series, love is what binds us what we are given, what we offer, and what we create together.

MEDIUM: Mixed media collage on acrylic base framed in a lightbox and enclosed in a dome

MATERIALS USED: Plexiglass, laser cut, archival quality silver prints, spray paint, vintage botanical illustrations, Bindi’s, glass paint,

permanent markers, holographic papers.

SIZE: 46” diameter enclosed in a dome

YEAR: 2023

Vasudhaiva Kutumbhakam

AGRADOOT DEVI

MEDIUM: Mixed media collage on aluminium thali

SIZE: 24” diameter base

YEAR: 2023

MEDIUM: Mixed media collage on aluminium thali

SIZE: 24” diameter base

YEAR: 2023

DEVI

NIRMAATA DEVI

MEDIUM: Mixed media collage on red acrylic

SIZE: 24” diameter base

YEAR: 2023

CREATION

DISSIPATION

PLATE 1/ LOVE IS IVF

This plate is both a confession and a testament.

The background is composed of medical packaging…sterile reminders of the instruments, procedures, and rituals

that mark the journey of in vitro fertilization.

These fragments embody the clinical, often brutal, reality of IVF: the injections, the medications,

the endless cycles of hope and disappointment.

Overlaying this medical ground is the astrological map of the universe,

a reminder that beyond science lies destiny.

Every soul has its own path, its own timing, its own alignment of stars.

The map acknowledges that conception is never solely a matter of biology it is also a dance with fate.

Encasing this cosmic chart is the honeycomb, a symbol of both structure and sweetness, of labor and life.

Like the hive, IVF is painstaking, communal in its dependence on science, doctors, and support, yet deeply personal in its outcome.

Within this honeycomb nest lies the trigger shot injection the very instrument that initiates the body’s readiness for conception.

Here, it becomes not just a needle, but a central icon, an object of hope and devotion.

PLATE 2/ LOVE IS TAKING A CHANCE

This plate captures the spirit of risk, movement, and possibility.

In the background, the Metro map of Dubai speaks of transit, of pathways intersecting, of lives carried forward into new terrains.

Alongside it, candle packaging from Goa evokes memory, light, and the warmth of past journeys.

Scattered phrases...Big Break, International Short Connection....become both literal and metaphorical,

pointing to the moments when love asks us to leap, to risk, to trust the unknown.

All enclosed within the celtic circle of life…

A tropical dream unfolds here,

blending the vividness of what has been lived with the promise of what is still to come.

The work suggests that love, at its core, is not about certainty but about courage…

The willingness to stretch beyond comfort, to bridge geographies and identities,

to weave together what we have with what we long to create.

PLATE 3/ LOVE IS BEING SOBER

This plate reflects the clarity and discipline that love requires.

The background bears the packaging of PartySmart, a reminder of intoxication, escape, and the culture of excess.

At the center lies a Celtic mandala, a symbol of meditation, grounding, and inner stillness.

Encircling it, the honeycomb returns as a pattern of structure and resilience a container for sweetness that can only exist through balance and order.

Here, sobriety is not simply the absence of intoxicants but the presence of awareness.

Love demands a sober heart: one that is attentive, honest, and awake.

To be truly with another requires presence, not distraction; clarity, not clouding.

In this piece, love is revealed as the act of meeting another with steadiness and truth, unblurred by intoxication.

PLATE 4/ LOVE IS THE GREEN MAN

The Green Man, an ancient symbol found across cultures, embodies the eternal cycle of life, death, and rebirth.

With a face woven into leaves and branches, he represents vitality, fertility, and the untamed wilderness

a reminder of our inseparable bond with the natural world.

His presence speaks to renewal, to the power of growth that follows decay, to the eternal return of spring after winter.

In this piece, the Green Man becomes more than a mythic figure he is the dream companion of the artist, a spirit imagined as the bearer of life and creation.

He represents the love that is generative, fertile, and deeply rooted in the rhythms of nature.

Here, love is not only human desire but also a cosmic force a collaboration with the earth itself, a prayer for renewal, and a longing for the blossoming of new life.

PLATE 5/ LOVE IS ADDICTIVE

This plate confronts the dual nature of desire and dependency.

The background is layered with cigarette packaging,symbols of habit, compulsion, and fleeting satisfaction.

Cigarettes are knowingly harmful, yet they entice with the promise of comfort, ritual, and momentary pleasure.

In the same way, love can grip us with intensity that is both nourishing and destructive.

At the center lies the heart, encircled by the Celtic circle of life.

This image suggests that the heart does not always follow reason it pulls us into patterns we cannot easily escape.

Love, like addiction, is often beyond logic: it consumes, transforms, and sometimes destabilizes.

Yet within its repetition and risk lies its power.

This piece acknowledges that to love is to surrender to forces larger than oneself.

PLATE 6/ LOVE IS ART

This plate celebrates art as both passion and survival.

The background is a collage of creative material surgical blade packaging, pens, markers, printer imagery tools and fragments that mark the act of making.

Among them, the phrase Live Your Passion stands as both instruction and affirmation.

At the center is a portrait of the artist, her face split into two landscapes:

one half formed by the soaring skyscrapers of Dubai, the other by the foliage and rooted earth of Goa.

This duality reflects her lived experience urban ambition and grounded belonging.

Modernity and nature,

discipline and freedom brought into dialogue through her practice.

For the artist, art is not merely an occupation but a lifeline.

It is the constant that sustains her through uncertainty,

the place she returns to when everything else feels unstable.

To her, love is not only found in relationships or longing but in the act of creation itself.

Love is Art affirms that her passion for her work is both her anchor and compass,

the deepest devotion she carries.

PLATE 7/ LOVE IS A SEAHORSE

This plate takes its inspiration from one of nature’s most extraordinary symbols of devotion.

Seahorses are among the rare species where the male carries and gives birth,

embodying a profound reimagining of care and responsibility.

They are monogamous, forming lifelong bonds, and express their love in tender rituals:

greeting each morning with a five-minute dance, entwining tails in underwater embraces, swimming side by side, and even “blushing” after arguments before finding their way back to harmony.

The background here is formed from surgical blade packaging marked Non-Sterile a subtle but pointed reminder of virility, potency, and the generative capacity of the male.

In contrast to the sterile, clinical associations of reproduction often explored elsewhere in the series, this material emphasizes natural fertility, linking the seahorse’s unique role as male-bearer of life to broader reflections on masculinity and creation.

Sea horses delight in one another’s presence, sharing meals of thousands of shrimps a day as a daily act of togetherness.

In their partnership, love is both play and labor, both intimacy and endurance.

Love is a Seahorse reminds us that true partnership is about balance sharing burdens, joys, and the responsibility of creation.

It challenges human notions of gendered roles in nurturing and asks us to see love as a collaboration in which each partner carries the weight, the magic, and the beauty of life together.

PLATE 8/ LOVE IS BEING HEALTHY

This plate draws together the language of health culture,

Phrases like Freaking Healthy Kids, Extra Strong, Eat, Live, Nourish, Sugar-Free, Slim and Strong, Superfood, the words that echo through packaging, advertising, and aspiration.

They form the background hum of a world preoccupied with vitality, resilience, and longevity.

Above this collage, sacred geometry symbols of the masculine and feminine appear,

representing balance, harmony, and wholeness.

Their presence suggests that true health is not simply physical but also energetic a union of body, mind, and spirit, of giving and receiving, strength and care.

Love is Being Healthy affirms that to love is to honor life by tending to it.

Health becomes both an act of self-love and a gift to others: the ability to be present, to sustain, to nurture.

Within this plate, love is not only passion or longing, but the daily practice of sustaining a body that can hold and express it.

PLATE 9/ LOVE IS A CHILD

This plate speaks from the depth of longing,

the hope and heartbreak entwined in the desire to create life.

The background is made of sanitary towel packaging, reminders of the body’s monthly rhythm.

For someone trying to conceive, each cycle is no longer neutral;

it becomes a marker of disappointment, “another nail in the coffin” of hope.

At the center lies the Celtic uterus, a symbol of both sacred geometry and the vessel of potential life.

Within it rests the seed of life, fragile yet infinite in meaning.

The word Fragile on the packaging underscores the delicacy of this process,

the fragility of bodies,

of embryos,

of dreams themselves.

Encasing all of this is the honeycomb, a recurring motif of labor, resilience, and the sweet promise of creation.

Love is a Child reflects the artist’s conviction that the decision to bring a child into the world is among the most

profound expressions of love.

It is an act of courage, vulnerability, and faith...

two people opening themselves to the universe,

entrusting their love to continue through another life.

CHEMICA FERTILIS/GOA OPEN ARTS FESTIVAL (2nd EDITION)

“Chemica Fertilis”

Literally translates to “chemically fertile”

At the center of this piece in what appears to be the shape of a square mandala significant of a sacred space, appears the image of the bodies of two women that appear as one.

These are floating in the canvas held up by botanical flowers.

They seem to be set in a garden but on closer look into the layers of the piece this is a garden of medicine packaging, a garden of chemicals.

In each of their chests there is a gaping hole that is surrounded by the Celtic circle of life,

outside in the garden these holes appear holding an embryo and a heart respectively.

These are all connected by a honey comb and you can almost hear the bees buzzing around

Significant of this garden being fertile or wanting to be.

The honey comb also mimics the structure of chemical compositions,

posing the question as to whether this really is a honey comb.

The three chakras aligned in a row that form a part of this image the sacral chakra, the solar plexus chakra and the throat chakra

have been chosen for there significance namely....

sexuality and creativity, wisdom power and communication.

The piece is framed with medicine and injections all resin-ed together to outline this garden of chemical fertility.

The black and white strips that form a part of the frame is the “small print”

the side effects that may or may not be caused by the consumption of these medications.

This piece is a tribute to women and fertility

The artist aims to create an awareness about a woman’s fertility through this work.

We as women are born with the number of eggs that we will ever have in a lifetime,

however these eggs do not last in either quality or quantity and we need to be educated on this

so that as women we can make informed choices as to what or not is our fertility plan!

Age & fertility as my main source of inspiration for this body of work...

I hope to create an awareness about women’s health in fertility…. our bodies,

the choices that we make, the things that we should be thinking about, the things that no one told us to think about!

Age and fertility are something that every woman goes through but is not spoken about.

It’s universal and yet taboo.

Through this body of work, I hope to create an open dialogue,

a voice and awareness of how important this conversation is in today’s day and age.

MEDIUM: Mixed media collage on wood board

SIZE: 6ft X 6ft

YEAR: 2024