There is a certain rhythm in drawing that cannot be rushed.
A single line can become a contour, a pattern, a leaf, a cellular structure, or something entirely imagined. In my practice, I use line as a way of observing and understanding the natural world — its repetitions, irregularities, growth, and interconnected forms.
My work often begins with organic structures found in nature and biology. These forms gradually transform through layers of detailed mark-making, pattern, colour, and composition. Influences from Indian textiles and traditional visual languages also find their way into these evolving surfaces, creating a dialogue between the natural and the cultural.
The process is intentionally slow. In a world of constant movement and rapid digital consumption, spending hours with a single surface becomes a form of attention. Each mark asks me to pause, observe, and respond.
Perhaps that is also what I hope the viewer experiences.
A moment to slow down.
To look closer.
To discover the details hidden within the whole.