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14 Artworks
Mayuri
Framing available
Govinda and the Peacock places a single peacock beside Krishna, its plumage in quiet dialogue with the feather worn i...
Krishna leans into his flute in the last blue light of evening, a single peacock feather catching what remains of the sun. The palette holds to deep indigo and slate, with gold used sparingly at the jewellery and the rim of the horn — restraint that makes the piece read as devotional rather than decorative. Suits a living room wall that already has warm wood or brass to answer the gold.
Shiva in meditation with Nandi, the Himalaya rising cold and blue behind them and wildflowers scattered across the foreground rock. The piece works on depth: three distinct planes, each cooler than the last, so the eye travels back into the mountains rather than resting on the figure. A large-feeling work that suits a wall with room to be viewed from across a room.
Sita seated alone beneath a broad tree, the yellow of her sari the single warm point in a composition otherwise given over to green shadow. The wide format leaves a great deal of empty space to her left, and that emptiness is the subject as much as the figure is. A contemplative horizontal piece, well suited above a low console or a bed.
A second reading of the same grove, warmer and closer than the first — the light has moved, the greens have gone golden, and the figure sits nearer the picture plane. Hung as a pair with Waiting Under the Ashoka it reads as a passage of time; hung alone it is simply a very quiet landscape with a figure in it.
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.
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 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.
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.
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.
A tropical shoreline at the moment the sun has gone but the sky has not caught up — palms in silhouette, a thin crescent moon, and the last orange band sitting on the water. Warm and cool in almost equal measure, which is what stops it from tipping into postcard territory.
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.
A woman in a pale yellow dress seated in long grass, the whole scene dissolved into soft impressionist light with a single tree anchoring the left of the frame. The wide format and low contrast make it unusually restful. Suits a bedroom, or a long horizontal wall where a busier piece would feel like too much.
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.
