"When I began experimenting with materials and technique, I instinctively turned towards used materials. Quite frankly, this move was primarily driven by ecological concerns. I had most of the 're-search' material at my disposal, so to say."

"As an Illustrator, I have always been fascinated by figures and faces of people and animals, the expression they wear, their body language, especially when they are caught unaware! My images therefore, are bound to evoke memories mixed with stories - real and imaginary, in the viewer's mind. I am an 'adventurist' and would continue to invent and explore on the way, not permitting myself to remain within self-defined confines."

"I prefer to work with things that I stumble upon, and let their innate character dictate what happens to them later. I often open my kitchen cabinet and dabble with household items like seeds, natural pigments, and empty bottles to experiment with in my studio. The result is that more often than not, they find more use in the studio than in the kitchen!"

"Papier Mâché is widely used in the production of decorative objects and sculptures of great lightness, delicacy, and strength. I create Papier Mâché in the traditional and authentic way, using natural binders. I particularly enjoy this medium because of its forgiving nature and therapeutic value. As you soil your hands and feet, and get glued to this flight of fantasy, you can give your trip a contemporary twist, rewinding and unwinding while on it. Not knowing what to expect at the next bend, every curve and angle can be explored in more ways than one"

"Often I find myself hovering between traditional techniques and contemporary, matter-of-fact processes. I like to work as close to nature as possible embedding natural objects even under the surface of my works to create interesting shapes like wings and eyes. Contemplating how much of natural pigment to add, what natural binder to use, how and how much to bask the works under the sun, if required, the effect of the weather on the materials and technique, is almost a zen like, thrilling experience. My affinity to folk art and traditional techniques explains my penchant for experimenting with Papier Mâché and Decoupage."

"My major challenge is to work with objects that are far from beautiful or interesting in their original form or shape. Broken earthen pots, old wine bottles, have had a previous life of their own and deserve to be noticed and appreciated, once they have been
re-invented as the cynosure of the room. The beauty of using unconventional material and traditional technique is that the result is rewarding and unexpected too. The adventure into the unknown begins when I stumble upon the material, and it continues through the process of handling and discovering its character, and ends only when the metamorphosis is complete. Natural flaws and imperfections in the form of marks, stains, scratches and tears and pleasing distortions, attract me. And I enjoy contradicting the mood that they would have otherwise created. Being subtly defiant is almost an obsession with me."

"That there is a preconceived or deliberate framework which I have in mind before I begin my creation is not an essential. Any interesting mass attracts my attention immediately. Cynics could well ask me how unconventional - looking people can be attractive. My reasoning is that conceptions of beauty must break free of conventional norms glorifying slimness and proportion. My people, by virtue of being comfortable with themselves, look graceful and attractive. Being free from any kind of awkwardness, they are what they were meant to be. Their shape and inherent ease guarantee them a second glance. This is what I call "harmonious disproportion."

"My objective is to enhance the environment in which my work is placed, and thereby the surrounding mood. Humour and playfulness form the underlying theme of my work. My collection should provoke thought and contemplation, pleasing the mind, as well as the eye...should intrigue and amuse the onlooker. I enjoy the response I get from people when they realise that attractive objects of art are often made from humble and modest materials."

"Simplicity and clarity lead to good design. The idea of dignifying commonplace objects is a challenge I eagerly look forward to. I want to take on this challenge, modifying the basic form as less as possible, thereby making more impact on the final creation. Going forward, I am itching to humour the impatience within me to make larger than life creations."