I consider myself to be more from a literature and drama background than fine art, making my concepts the thoughts of an artist, artisan, writer and movie maker all at once, and allowing me an alternative way of understanding life, while widening my interest in processes and approaches to contemporary art. Working with common themes like time, isolation, and transition, I am interested in the fragility of relationships and the awkwardness of humans trying to coexist and relate to one another. To that end, I create miniatures with detailing to serve as evolving still-life renditions, from which I paint detailed narratives. For my most recent series, I built a diorama of a fictional rural landscape and gradually developed it into farmlands — and ultimately, a town. Beginning with a square of Styrofoam, I carved in mountains, valleys, rivers and ponds, and propagated a verdant landscape of wire and foam trees. My practice is vastly influenced and marked by my shift from Odisha to Delhi and a personal encounter with the ever-changing landscape, evident in my recording of minute details — both real and imagined. Fusing stylistic elements drawn from miniature paintings and traditional Patta paintings, my idea is to portray the value of image reading and sense of diversity between machines and urban existence. The machine, integral to city life, carries the aesthetic, beauty and ugliness of science. As we go further into this modern technological age, we become more and more like machines, harboring fewer emotions or attachments or exploring less extended humanitarian aspects. My works also often elaborate a complex vision of simple images, wherein characters from the past come in and create drama, or posit relevant questions to present society and our issues. This makes the art a time machine of sorts, where memories and present experiences amalgamate.