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10 Artworks
Mayuri
Framing available
Govinda's Melody surrounds a flute-playing Krishna with peacocks, their feathers echoing the peacock plume traditiona...
A bridal portrait broken into planes of colour — jewellery, veil and profile reassembled as a mosaic that you read all at once rather than feature by feature. The palette is deliberately unruly: magenta against olive, cobalt against gold. The most extroverted piece in the collection, and the one that will set the tone for whatever room it hangs in.
Nine faces pressed into one plane, overlapping the way voices do in a crowded room. Each is resolved just enough to read as an individual before dissolving back into the pattern. The warm palette — rust, saffron, rose — keeps a busy composition from turning cold or clinical. A statement piece for a dining wall or a hospitality space.
A face brought right up to the picture plane and shattered into gold, olive and turquoise facets, with the eyes left almost intact so that the gaze survives the abstraction. Close-cropped and confrontational in the best sense. Give it a wall of its own and enough distance to resolve.
A dancer mid-turn, her skirt fanning into the same tiled geometry as the ground behind her, so figure and background are made of one material. The red carries the movement; the surrounding blocks of ochre and teal hold it still. Energetic without being loud — a good fit for a stairwell or any wall seen in passing.
Yellow and violet blossoms lit as though from within, floating against a ground dark enough to read as night. The light is the subject rather than the flowers. Because the background is so deep, it holds its own on a dark or richly painted wall where a paler floral would disappear.
Magenta wildflowers shot through with streaks of backlight, painted with enough motion blur that the whole thing hums. Closer to a photograph of movement than a botanical study. A good choice for a hallway or a bedroom wall that needs colour without needing a focal point.
A woman with her eyes closed and her head tipped back, ringed by sunflowers worked in thick palette-knife strokes. The paint is laid on heavily enough that the flowers read as physical objects on the canvas rather than images of flowers. The most tactile piece in the collection — worth seeing in raking light.
A face built from broad palette-knife strokes of white, black and a single slash of red across the cheek. Almost nothing is described literally — the features assemble themselves at viewing distance and fall apart again up close. Confident, graphic, and best given a plain wall.
A collage-style portrait — sunglasses, roses and printed fabric layered flat against a coral ground with no attempt at depth. The most graphic and most modern piece here, closer to editorial illustration than to painting. Works well in a café, a studio, or any room that can take a high-chroma flat colour.
