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9 Artworks
Mayuri
Framing available
Shiva and Nandi against a wash of burnt ochre, the whole canvas held in a narrow band of earth tones — rust, clay, muted saffron. There is almost no cool colour anywhere in it, which is unusual for the subject and gives the piece an enveloping warmth. Best on a pale wall, where the ochre can do its work without competition.
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.
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 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.
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.
A shallow bowl catching light at the centre of a dense wreath of red roses and dark foliage, painted with heavy impasto so the petals stand off the surface. Nearly baroque in its density. Needs a wall with some space around it and, ideally, light from the side to rake across the texture.
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 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.
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.
