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7 Artworks
Mayuri
Framing available
A monochrome study of Shiva with Nandi, worked entirely in graphite tones against carved temple stone. Stripping the colour out pushes everything onto line and weight — the fall of the bull's shoulder, the tension in the seated figure. Reads as drawing rather than painting, which makes it an easy piece to live with in a room that is already colourful.
A sleeping figure assembled from slate-blue rectangles, with one deep red rose placed low in the frame as the only warm note. The restraint is the point — nearly the whole canvas sits in a narrow band of blues, so the rose reads as loudly as it does. A calm horizontal piece that works particularly well above a bed.
A study in the manner of Picasso's blue period: a woman resting her head on one hand, drawn almost entirely in tone rather than line. The whole canvas sits within a single colour, which throws all the weight onto the modelling of the face and hand. An honest exercise in restraint, and a quiet piece for a reading corner.
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.
The third and most loosely handled of the blue studies — the same seated pose, but the brushwork left open and the edges allowed to break down into the ground. Where the second study resolves, this one stays provisional, and some collectors prefer it for exactly that reason.
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.
The same coast an hour later, given over almost entirely to violet — cloud, water and sand all pulled toward the same register, with the white of the breaking surf as the only relief. Hung beside Crescent Over the Cove it extends the evening; hung alone it is a study in how far one colour can carry a landscape.
