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“Moving to the outskirts of this city in western India, I was confronted with a primal, elemental landscape dotted by factories that looked extremely desolate in the summer. The world might be at the forefront of technology but for us these outdated factories and chunky machines are an everyday reality. I am not here to make moralistic statements about our oil-stained and garbage strewn landscapes. I want to seek the peculiar...

“Moving to the outskirts of this city in western India, I was confronted with a primal, elemental landscape dotted by factories that looked extremely desolate in the summer. The world might be at the forefront of technology but for us these outdated factories and chunky machines are an everyday reality. I am not here to make moralistic statements about our oil-stained and garbage strewn landscapes. I want to seek the peculiar beauty of these desolate structures. Their permanence is comforting.

The grid helps me order space within my painting, so foremost it is a tool and I use it, like say a Renaissance artist did. I do not have to deal with the uncontrolled length and breadth of the canvas, the grid gives me space in little tablets. It is very useful when I have to transfer a small image from my sketchbook on to a large canvas. But I go beyond to use it as a metaphor as well…Sometimes I paint the grid after the work is done. It becomes like a second skin, suffocating the painting.” (Interview excerpt, Real in Realism, Vadhera Art Gallery, 2002)

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