My current practice is heaviliy focused on woodcut printmaking. I work with reclaimed wood, adapting Japanese moku-hanga and Indian block-printing techniques to create my composition. By responing to the wooden surfaces and found shape i let the image emerge with interventions of vaious juxtapositioning forms. Repetition and mark-making process allows a way of building layered visual experiences. By working with reclaimed wood, each print becomes a site where technique, material behaviour, and accumulated marks come into dialogue.
Behind the Scenes
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My practice moves between printmaking, painting, performance, and moving image, using material processes as a way to explore the complexities of memory, displacement, resilience, and ecology. I approach subjects through a combination of conceptual inquiry and close material observation, allowing humour, ritual, and physchological constraint to shape ideas in to visual form. Often beginning with objects that carry their own histories – found, discarded, or inherited materials. I work through processes that reveal how meaning accumulates through touch, repetition, and the passage of time. Writing and language also play an integral role in my practice; English and Gujarati scripts act both as structural anchors and as disruptive gestures that unsettle fixed narratives. For me an act of making is a way to reconfigure the relationships between place, memory, and the body.
I work from a multidisciplinary studio where drawing is the starting point for nearly everything I make. It is here that ideas first take shape before moving into printmaking, painting, sculpture, or other material processes. The studio is a constantly adapting workshop, where the walls, layout, and functionality of each area shift according to the kind of work being created. Most of my work is born out of tactile engagement with materials, and the space get reconfiguered to suppport this fluid movement between mediums.
Printmaking is currently at the centre of my practice, particularly woodcut. Preparing each wooden block is a significant part of the process: I work with hardwoods that require careful sanding, planing, and surface preparation before they are ready for carving. Power tools such as sanders and planers, saw blades help make the block ready for cutting. from here on every tool in the process is hand tool. I use Japanese wood cutting tools for relief cuts, and Japanese paper is used to take the final original print.
Although printmaking anchors my practice, I also work with materials such as paint, clay, plaster, fabric and moving image.
Examples of work
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