Through my work I try to trace the history of ‘man’ within the collective ‘human’ history. This history has much importance in my works. The news and images of today are stored in me as my own visual conclusions and structures and it get reflected in my works. The ‘man’, subject to contradictions, changes and experiments, sometimes the conqueror and ecstatic, and sometimes the vanquished and defeated. My works are positioned somewhere between these contradictions. It tries to tell their stories, their battles, their pleasures, their victories, their perils, their defeats. I draw man with a purpose and sometimes without one single aim. Through my works, I try to offer a counter vision of a wide laugh and a deep cry within the canvas of many histories of man.

Tug of War (The Daily Violence Series-I ). People in various countries, especially children are being affected by the violence of war. This is the underlying concern of my process. My feeling is that any war primarily victimizes children. War stems out of ignorance. Colonialism, imperialism and globalization are presenting their own challenges in front of us. I am puzzled by the warmongering of even the underdeveloped countries of the world. Children and women are still the victims of all these. Objectification of the downtrodden has been going on even now. I am trying to reflect in my art practice the possibility of a new vision of hope for a better tomorrow. Using the observation for paving these cornerstones is my primary process now. People’s concerns about daily life are universal in every country. But the difference of affecting them varies. Self-sabotaging of one’s own efforts is a mistake many people repeat because of ignorance. Sometimes survivors treat the submissive ones as their subordinates. By going through the process I believe that I too am a part of the ongoing cultural engineering of our times. Art also has a part to play in this transformation. There is a space for intervention using art in the present context. I am trying to find a substantive balance between historic facts and contemporary concerns.

Boat People. The series of works titles Boat People is the reflection on human displacement due to ethnic cleansing and border conflicts. New wars stem up everywhere as the whole world is being affected by them never before. An over-loaded boat filled with whatever belongings one could grab in the beginning of the exodus, has become the iconic symbol for the great human tragedy of our times. We called the Boat People during Vietnam war. The same struggle for survival of ordinary people from Syria and countries like Iraq are happening right now in front of our eyes. I am being affected by all these powerful images of human suffering. These works are the continuation of my last series which was also about the extreme pain and suffering humans go through, as they are pushed into the predicament of loneliness and helplessness.

Working Class Heroes. These are the site-specific portraits of labourers including men and women engaged in diverse work culture that has been unravelling through an interactive performance within distinct public spaces and localities thereby identifying and recognizing the portrayed individuals/ labourers by their acquaintances. In fact, they can even be acknowledged as wall paintings due to its noted endorsement on public walls of shops, institutions and streets of the cosmopolitan Kochi and Mattancherry suburbs. The portraits at the time stand as a tribute to the people of the historic Mattancherry, and as a mirror to the contemporary lives of the citizens. When thinking of the project in other various places, it opens up a new path to search and understand the stories of each person, family, community and society. This process of making portraits by interacting with the local community builds a narrative to the history forgotten and history in making. It is an ongoing project of documenting the history and culture of people. In brief this project of portraits on public walls is a way of recalling what was there, and a revelation of the now life of the people. I believe that the wall I choose to work itself will start to communicate.