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My Portfolio
Welcome to my portfolio. Here you’ll find a selection of my work. Explore my projects to learn more about what I do.
Illustrations
These illustrations contains both real life observation and project based on visual culture exploration.
Branding
This project reimagines koodiyattam, one of the only surviving art form that uses drama from ancient Sanskrit theatre performance with elements of koothu. Here koodiyattam in itself is a brand. I'm not trying to bring Koodiyattam into the 21st century, I'm trying to bring the 21st century to Koodiyattam. The art remains the same; only the window through which we view becomes clearer.
1.How to build a brand strategy that preserve the authenticity?
2.How to promote the art while educating the audience?
3.How to reach diverse groups while keeping the ritual essence?
1.How to build a brand strategy that preserve the authenticity?
2.How to promote the art while educating the audience?
3.How to reach diverse groups while keeping the ritual essence?
Installation
This research explores the layering of time through building, space and people. The site gives an idea of a living record of the city’s transformation. The research seeks to understand how time becomes a tangible and experiential element in everyday life. Primary research, including a series of interviews with vendors, workers, migrant and how they actually adapts to the shift.
Through this inquiry, the project positions the sites, not just as a physical location but as a living archive of time. the project aims to reveal how personal narratives and spatial transitions together form a layered understanding of the city. My practice explores the Influence or the layering of Time in Urban Spaces. I am particularly interested in how time accumulates, folds, and reveals itself through spaces, people, hand-based crafts and how these shape the way we experience the world.
Through this inquiry, the project positions the sites, not just as a physical location but as a living archive of time. the project aims to reveal how personal narratives and spatial transitions together form a layered understanding of the city. My practice explores the Influence or the layering of Time in Urban Spaces. I am particularly interested in how time accumulates, folds, and reveals itself through spaces, people, hand-based crafts and how these shape the way we experience the world.
Semiotics
This study investigates the intersection of semiotics, minimalism, and gender neutrality within the evolving landscape of Indian fashion. As minimalism gains prominence, influenced by sustainability and global fashion discourses, Indian designers and consumers are reinterpreting traditional codes through simpler silhouettes, muted color palettes, and versatile forms. Drawing on theoretical frameworks such as Halliday’s meta functional theory and concepts of signifier/signified, the paper examines how clothing in India acts as a non-verbal communicative system, where garments like khadi kurtas or fluid sarees encode meanings of heritage, resistance, identity, and modernity. In India where traditional practices of handloom weaving and natural dyeing intersect with modern design, and minimalist fashion offers a platform to reimagine cultural traditions in sustainable ways. How minimalism as a statement got prominent in Indian culture. Ultimately, it reveals how minimalist fashion in India is not a rejection of culture, but a rearticulation of it, using the language of semiotics to navigate expressions of self, sustainability, and social fluidity.
Concept photography
Our project explores how we form relations in life, by studying our relationship with Bengaluru. To see through the City's eyes, we used photography and explored various techniques to capture the emotional state of the relationship. Jacques Lacan's Theory of the Gaze guided us, philosophically, to visualize such mind states and then critically look back on them. He speaks of a feeling incited in us when we think that the object, the City, is also looking back at us. Arun, curious and fascinated is falling in love with the City, but under the Gaze of the City he sees the biases he has in forming associations with objects or people. Sanghamithra, stopping only for a fleeting moment, questions the emotional neutrality she has with the City. Is she empty on the inside? And does this overshadow her relationships with her fellow beings and her personal expression?
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