A b o u t


a free spirited Maverick.

 upam draws from his everyday experiences, thinks, meditates on what he is thinking about, and transmutes these thoughts and experiences into artefacts as well.

 Cultures, Cosmos, and Consciousness awe him, and the intricacy with which these three co-exist, keeps him curious.

 Curiosity keeps him inspired, “Look around and you’ll realise that there is much yet to grasp, and the best part is, to question it all, time and again”.

 he identifies art as a medium to form unrestricted Associations between the Real and the Sur-Real, between the Innate to the Acquired; acting as a means where speculation about the multidimensional nature of our world takes place. sequentially, giving rise to elements of storytelling. 

 He is currently at the Ecole supérieure des beaux-arts de Nantes Métropole, Nantes, France.
Panel 1

A r t i s t S t a t e m e n t


‘my working process at the moment is an extension of a Perceived Environment based on Drawing, Painting, Sculpture and Multi-media. The work normally stems out of forms that we are familiar with and morphs itself with different ideas and gestures in the process of its making.

my approach to art is, in a way, a state of speculation on the Process in which any given work (that can be or may be, declared as a work of art) is capable of generating associations (distinctive or not) from an Accumulated Database of pre-existing Vocabulary.
the Autonomy of each Observer, fertile with a lifetime’s worth of Cumulative-Accumulations of Associations, is encouraged as an exercise, t o s l o w d o w n ,beconfused, not to haste unto a conclusion, observe the various myriad of associations that are evoked by the chosen forms.
Be with the narrative(s) that is co-created and assimilate elements that give rise to it based on subjective associations and formal parallels.

[ is there really a need for art to serve a given purpose ]

the interpretation of the work/form in question thus, is not entirely imposed , whereby the autonomous associations of the observer creates a meta-narrative as no supporting text is provided for to go with the work produced. i try to deconstruct the results to the extent that meaning is shifted and possible interpretation becomes multifaceted.

It is not exactly as though <anything goes> in interpretation but is now less an object to which criticism must conform than a free space in which it can sport. Sometimes I use titles to g u i d e / m i s g u i d e the observer to enable varied readings, creating a vague entry into the course of storytelling.

During the process of research and production new spheres of interest arise and lead to the next body of work.’