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9 Artworks
Mayuri
Framing available
The companion to Rose and Slate: the same blue architecture, the same downturned profile, but two roses now instead of one and the geometry opened up around the shoulder. Bought together the pair reads as a diptych; bought alone this is the warmer and more forgiving of the two.
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 seated woman with hands folded, worked in the same narrow blue register but with more resolved modelling than the first study — the light on the face and knuckles is doing real work here. The background stays deliberately unfinished, which keeps the attention on the figure. Sold as an individual study, not as part of a set.
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.
Mountains, river and sun reduced to flat cut-paper shapes in coral, cream and teal — no shading anywhere, just layered silhouettes. The most graphic piece in the catalog and the easiest to place: it will sit happily in a child's room, a home office, or a café without competing with anything.
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.
An elderly man bent over a cup of tea, and behind him — with no explanation offered — the whole of a star field. The domestic and the cosmic put on the same plane without comment. The idea carries the piece, and it tends to be the one people ask about. Suits a dining room or a café wall where it will be looked at for a while.
The companion to Chai Under the Stars, and the warmer of the two: a man in a saffron turban with two cups set out on the table in front of him, one of them plainly for someone who has not arrived. The nebula behind him is painted in reds rather than blues. The second cup is the whole story.
