Briefly describe the work you do.
I mainly work with drawing in a sketchbook. I like to be in-situ and draw what I’m thinking. I am currently exploring Net art, what is coding?
Tell us about your background and how that has had an influence on your work and on you as an artist.
I have been managing a telecom company for the past fifteen years in a densely populated Computer Hardware market. Coming from a business family, i never did my Bachelor in Fine Arts so I only knew how to sketch with a pen on paper and so that has become my practice. Also my studio is in the same computer market which is loud all the time, so I find peace in such turmoil. Its like making a sketch in the middle of a busy traffic filled road. I like to read on movement, force, torque so that influences my outcome.
The concept of the artist studio has a broad range of meanings in contemporary practice. Artists may spend much of their time in the actual studio, or they may spend very little time in it. Tell us about your individual studio practice and how it differs from or is the same as traditional notions of “being in the studio.”
For the past few years since 2011, i have been working in sketchbooks of all sizes but always inside a cafe, a museum space, a restaurant, a dining place, a park or an outdoor place. I can’t sit and work in my studio. So the City becomes my Studio.
What roles do you find yourself playing that you may not have envisioned yourself in when you first started making art?
Well, off lately and I find it exciting to go through a concept or science, lets say physics and or something to with medical treatment, so for me to read it and then draw out, chalk out a sketch is an interesting space because it becomes like a self learning method through drawing simply because I am interested to know more.
When do you find is the best time to make art? Do you set aside a specific time everyday or do you have to work whenever time allows?
I don’t have a best time, but over the past few years, it has become a fixed routine to work in the morning around ten till lunch. I can’t sit any longer in a cafe. And i drain all my energy in the process. After that Its about writing, reading emails, maybe visiting exhibitions, meeting people and then doing other activities.
How has your work changed in the past five years? How is it the same?
In the five years, 2010 onwards, i have seen a shift in the line, from being a smooth line to becoming a broken line, from drawings from reading history, works on erotic art to capturing day to day events, a sense or reportage to also just picking a theme, like what happens if i fall, how can i go on falling, what is a fall? So i never worked like this earlier. Earlier it was enacting a past event. But the scale and tools and the medium have more or less remained the same, like a small sketchbook, around A 5, pen on paper and sketching. From being inside a studio to being completely outdoors. And only recently i worked or created works on humour which earlier were not so prominent in my practice.
How have people such as family, friends, writers, philosophers, other artists or even pop icons had an impact on the work you do?
My families stories become part of my sketchbook. my friends and interacting with them gives me new ways to look at my work. I like to read Merleau Ponty once in a while and what ever pops up as an interesting read.
Have you ever been pulled in the direction of a pursuit other than being an artist? What are your other interests?
Yes, I have of running my business on full scale, of creating a team of marketing but it retains itself for a short while. Also the nature of documentary filmmaking has been elusive as a way of projecting art which can create a social impact on the society and documentaries strength of capturing what popular cinema can not do.
All images copyright of the artist and used with their permission.