Oil on canvas

This piece embodies a well-defined vision that is not open to broad interpretation. It symbolizes cycles of growth and contraction punctuated by decisive moments shaped by good and bad decisions. The orange monochrome suggests a strong sense of sustained optimism on both sides of the spectrum.

Oil on canvas

We have come to appreciate the symmetry surrounding us, often seeking untenable balance. Yet, once we achieve that sense of equilibrium, we are drawn to the paradox of asymmetry—fascinated by the contrast and irregularity extrinsic to ourselves. At the same time, we remain guarded against the asymmetry we admire, creating a tension between the desire for balance and the allure of chaos. In that sense, the perception of asymmetry is itself asymmetric. To that end, I wonder how a tightrope walker perceives the notion of asymmetry.

Oil on canvas

“How far do you swim,” asked Matthew.

“What? I swim until I don’t want to swim anymore,” replied the old lady. — Matthew McConaughey

This piece explores the tension between control and freedom. Measurement, at its core, seeks precision and predictability. But life, in its most basic form, thrives on spontaneity and uncertainty. While unmeasured living can spur joy, it does beg the question: How can we let life breathe and allow space for the unmeasured while keeping a check on essential, inherent growth?

Oil on canvas

This bungled, muddled-up piece is a harbinger of June.

Oil on canvas

This painting is inspired by post-colonial Indian artist Tyeb Mehta, one of the first Indian artists to gain global recognition. I discovered his work long before learning about the European artists of the 19th and 20th centuries. His art is characterized by suspended figures positioned against flat-toned mosaics of vivid colors. Here, instead of a meaningful figure, I have suspended fluff.

Oil on canvas

The mood is right.

Oil on canvas

This painting fell short of realizing its full potential—an unrealized vision. Serendipitously, something more beautiful emerged: a subtle inquiry into naivety and skepticism.

The painting adopts a closed, defensive posture. It lacks the essential complexity to engage in meaningful, constructive criticism—whether by choice or accident. It's naive. It deflects criticism by feigning ignorance or innocence. Naivety can sometimes be a shield or defense mechanism to avoid confronting complex realities. To a critic, this avoidance can be frustrating and often invalidating. When naivety dominates, it can stifle growth for both sides—the critic cannot express freely, and the other remains in a state of unchallenged simplicity. While naivety might initially appear as innocence, it can inadvertently create a restrictive environment. In this dynamic, skepticism holds an advantage over naivety.

Oil on canvas

With fondness and admiration.

Oil on canvas

The painting idealizes a forest fire for its two diametrically opposite characteristics, both adding to the artifact’s vibrancy and creating the perfect breeding ground for unrestrained momentum. One exemplifies the untamed spark of ambition that refuses to let you settle, while the other burns away the deadwood of doubt, clearing the path for reinvention. Like wildfire, it consumes everything that holds you back. Carry it always. Let it rage. Let it propel you forward — unstoppable and unrelenting. The forest fire is destiny; it’s beautiful; it’s powerful.

Oil on canvas

This polyptych captures the emotions I felt while creating it, and this short snippet attempts to do justice to its underlying supposition. The panel is a fusion of the same painting stitched horizontally, transformed by three different settings: shifting light, different geographical locations, and varying states of heightened pleasure.

This painting is open to broad interpretation, primarily because of its amorphous, structureless nature—just pillows of nothingness floating aimlessly in the air. Yet, it was created with a specific idea in mind: the avoidance of extremes.

It’s about dodging commitment, skirting around substance, and clinging to a comfortable neutrality—one that resists taking an objective stance. It reflects a willingness to settle for commonplaceness, a place of compromise, and a fear of being tied to any position. It leaves room to pivot when needed—to jump ship. It reveals a reluctance to engage meaningfully—content with simply drifting in the middle, neither here nor there.

It’s about taking the middle road, the passage that taps into our soft underbelly, our relentless pursuit of broader acceptance and belonging. There’s an interesting symbiotic relationship between its vagueness and its widespread appeal. That’s no coincidence.

It’s a path to commodification, where deeply personal or existential explorations are repackaged into rampant consumerism.

It’s the perfect definition of escapism.

It's trendy.

It’s spirituality.

Oil on canvas

The word buniyad comes from the Persian (Farsi) word bunyād, which means "base, root, origin, or foundation."

A strong foundation is the bedrock of true freedom—not just in a political or social sense but in the ability to think independently, critically, and creatively. This foundation enables an entrepreneurial spirit, allowing individuals to explore new ideas and express themselves without fear, unrestricted by societal constraints.

This foundation is not merely a buffer against adversity, nor is it just about resilience—the ability to withstand hardship. It goes beyond that. It is about thriving in the face of uncertainty and adversity. Nassim Nicholas Taleb explores this concept in his book Antifragile: Things That Gain from Disorder.

I credit this invaluable foundation to my parents and their overly simplistic approach to life—a gift that has given me a solid foundation (buniyad) and allowed me to build my framework, layering it with complexities of my own. For this, I am forever grateful.

Oil on canvas

“Of biblical proportions”

This is the first painting in the Skew series. The piece is motivated by Ulla Johnson's awe-inspiring New York Fashion Week show.

The distinction between being inspired and inspiring others reflects a fundamental asymmetry in influence and agency.

The journey from being inspired to inspiring is a shift from a passive state of admiration, emulation, and reliance, where actions are shaped by external influence, to an active state of authority and influence, coupled with leadership and creative impact. It's a transition from responding to tone-setting and becoming a catalyst.

The asymmetry between the two is meaningful because it defines a hierarchy of influence and agency. Those who inspire have the power to shape their path but also to influence the orbits of others—a position of strategic and intellectual prominence.

WIP 🏗 🚧 ⚠️

Oil on canvas

“Very big”

I continue to chase asymmetry, drawn in by its endless intrigue. Skew is inherently present, scattered unevenly throughout everything—its uneven distribution across all facets of life is a constant source of fascination, appearing in both nature and human behavior. Whether advantageous or not, it provides consistency in learning, offers rich ground for exploration, and helps clarify the inexplicable. We gain insight, refine our understanding, and course-correct through irregularities.

Symmetry, though often relied upon to predict future outcomes and impose order, is merely a product of chance and randomness and cannot be depended upon. This painting is inspired by the asymmetry I observe around me, primarily in the capital markets. The markets vividly embody asymmetry in action—a font of inspiration and joy for me. However, this perspective extends well beyond finance into everyday life.

This painting is dedicated to David Lynch.