Born in the village of Paddy Field. From an early age, art, ritual, and language were inseparable parts of daily life. Traditional practices such as kolam (rice flour floor art), embroidery, religious painting, and pottery were more than decorative—they were expressions of rhythm, care, and spiritual connection.
These artistic traditions are deeply rooted in the shared cultural heritage of South India and northern Sri Lanka, resonating through ancient cities like Anuradhapura, Polonnaruwa, and Sigiriya—renowned for the Apsara frescoes depicting celestial dancing women. My interest in historical continuity led me to explore the material culture of the Harappan Valley Civilization, particularly the Keeladi and Porunai terracotta figurines and stone sculptures, which reflect a long lineage of symbolic form and craftsmanship.
My creative journey has since extended across continents. In Cyprus, I was drawn to Chalcolithic terracotta figures and Mediterranean archaeological sites. Living in Paris immersed me in contemporary art discourse, while exhibitions in the Caribbean brought me into dialogue with pre-Columbian shell masks and indigenous masks. A visit to Japan deepened my appreciation for ancestral memory through the dynamic presence of Haniwa terracotta dancers.
These global encounters—each rich in tradition and symbolism—are layered upon my Tamil heritage and continue to shape my evolving artistic language. My practice explores the intersections of memory, movement, material culture, and the shared human impulse toward expression and belonging.
These artistic traditions are deeply rooted in the shared cultural heritage of South India and northern Sri Lanka, resonating through ancient cities like Anuradhapura, Polonnaruwa, and Sigiriya—renowned for the Apsara frescoes depicting celestial dancing women. My interest in historical continuity led me to explore the material culture of the Harappan Valley Civilization, particularly the Keeladi and Porunai terracotta figurines and stone sculptures, which reflect a long lineage of symbolic form and craftsmanship.
My creative journey has since extended across continents. In Cyprus, I was drawn to Chalcolithic terracotta figures and Mediterranean archaeological sites. Living in Paris immersed me in contemporary art discourse, while exhibitions in the Caribbean brought me into dialogue with pre-Columbian shell masks and indigenous masks. A visit to Japan deepened my appreciation for ancestral memory through the dynamic presence of Haniwa terracotta dancers.
These global encounters—each rich in tradition and symbolism—are layered upon my Tamil heritage and continue to shape my evolving artistic language. My practice explores the intersections of memory, movement, material culture, and the shared human impulse toward expression and belonging.
