Saturday, November 28, 2009

Recent Exhibition at Museum Art Gallery, Mumbai, November 2009

036. 48''x24'', Untitled, Acrylic on canvas

Abstract Joyscapes

Many years ago, a little sapling found itself uprooted out of the pristine environs of cool breezes, ample sunshine, flowing streams, and a beautifully simple life. And it found itself replanted into a whole new environment. One of chaos, hustle-bustle, and a furious pace. In such terms could be described Krishna’s migration from his rural roots amidst the warm embrace of nature, to the big bold city of his expression.

While several others might actually have been bogged down by this brutal shift in environment and habitat, Krishna totally exploited his gift of art to marry the influences of his roots and his current existence. And the world was treated to the immensely delightful paintings of Krishna Pulkundwar!

While one might wholly appreciate the acute realism of a landscape painting in the mirror image of God’s creation, the exact stirrings that a beautiful abstract work evokes is something else altogether. I would associate the joy derived out of Krishna’s abstracts to the little inexplicable abstract joys that all of us encounter on an everyday basis. Joys like the sudden blush of an evening sky, the heady feeling that comes with the fragrance of wet earth, the sense of liberation our heart feels on hearing the cuckoo’s call; all abstract expressions, but with very real enrichment of the senses. Quite a bit like taking in the vivid earthy colours, crisp form buildup, and the overall beauty of Krishna’s paintings.

Colours form unique colonies, textures breath a new life, and a flat surface discovers new depths in the bold expressions on Krishna’s canvas. And through it all, I’m sure the viewer experiences a whole new manifestation of plain old simple joy!

Prof. M G Rajadhyaksha
Ex Dean, Sir J J Institute of Applied Art, Mumbai

037. 24''x24'', Untitled, Acrylic on canvas

038. 24''x24'', Untitled, Acrylic on canvas

039. 34''x58'', Untitled, Acrylic on canvas

040. 46''x46'', Untitled, Acrylic on canvas

041. 46''x46'', Untitled, Acrylic on canvas

Sunday, September 6, 2009

New works, September 09

032. 14''x14'', Untitled, water colour on paper

If you carefully go through a painting, you may find various meanings according to your understanding or even the color, texture, composition or subject might interest you. That is why in order to understand an abstract painting; the point of view is what matters most. Ultimately it is the viewer’s point of view.

My paintings always fascinate me, but if the viewer finds it interesting or even if it brings a little smile on his face I would consider that I am going the right way.

033. 14''x14'', Untitled, water colour on paper

034. 46''x46'', Untitled, acrylic on canvas

035. 46''x46'', Untitled, acrylic on canvas

Wednesday, July 15, 2009

New Works, July 2009

027. 14''x14'', Watercolour on paper, Untitled.

Every sensible thought inspires me to work;
Also I get inspiration from changing colours and textures of Nature.
Producing new work is an ongoing process
& my soul is visible in all my works which I create.
I always wish to express myself through my art,
and people enjoy my expression.
Hope you will enjoy these new works also.

028. 14''x14'', Watercolour on paper, Untitled

029. 34''x34'', Acrylic on canvas, Untitled.

030. 12''x12'', Acrylic on canvas, Untitled.

031. 12''x12'', Acrylic on canvas, Untitled.

Monday, June 15, 2009

June 2009

023. 24''x24'', Acrylic on canvas, Untitled

024. 16''x16'', Water colour on paper, Untitled

025. 16''x14'', Water colour on paper, Untitled

026. 16''x14'', Water colour on paper, Untitled

Sunday, May 3, 2009

About My Abstract Paintings

008. 14'’x14’’, Water colour on paper, Untitled

009. 14'’x14’’, Water colour on paper, Untitled

010. 12'’x12’’, Acrylic on canvas, Untitled

011. 12'’x12’’, Acrylic on canvas, Untitled

There is nothing in this world
that gives me more satisfaction
and pleasure than 'painting'.
Because 'painting' is something,
which I do whenever I wish, at my own will.
I think what satisfies one's inner soul,
is what one does with one's own wish, with devotion.
All my paintings have given me sublime satisfaction of creation.
The feeling of immense joy, which I have experienced,
is what I wish to offer to the viewer.
If you feel whatever I have felt,
I will be sure that I am traveling in the right direction.

012. 24’’x24’’, Acrylic on canvas, Untitled

Visual experiences of everyday life,
hustle bustle of the surroundings,
colour, textures & forms
perceived by multi-sensory mechanism…
Leave kaleidoscopic reflections on the mind…
And the visual imagery that percolates down on canvas is Abstract.

013. 18'’x18’’, Acrylic on canvas, Untitled

014. 46’’x46'’, Acrylic on canvas, Untitled

Whatever I feel,
I jot it down on canvas. But what I think,
the same, sometimes doesn't reach to the onlooker.
And I am aware of that.
Because every individual has
an independent viewpoint.
And that viewpoint keeps on changing
every now and then, in case of each individual,
so the same painting appears different to every onlooker.

015. 12’’x12’’, Acrylic on canvas, Untitled

016. 24’’x24’’, Acrylic on canvas, Untitled

Whether it is Representative or Abstract,
does not matter; when emerges from
the deeper zones of consciousness,
is not an act performed to impress
but an act which cocoons the creator
in the immense joys of creation.

017. 46’’x46’’, Acrylic on canvas, Untitled

018. 24’’x24’’, Acrylic on canvas, Untitled

What is painting? ….
Emptying your impressions-and-feeling-rich mind on canvas.
You will find anything and everything in it… If you search.

019. 24’’x24’’, Acrylic on canvas, Untitled

020. 18'’x18’’, Acrylic on canvas, Untitled

What appears simple to an onlooker,
an artist may have woven complex tapestry of thought behind it.
At times the process leaves a pain, which has no name.
It is said, 'The most simple is the most difficult thing'.

021. 24’’x24’’, Acrylic on canvas, Untitled

InspiRED Windows
Pravina Mecklai, Jamaat Art Gallery, Mumbai

I first met Krishna when he breezed into JAMAAT with a cheerful smile and politely handed me a CD, asking me to have a look at his images at my leisure. This was quite a change from the other brash artists who swagger into the gallery and demand your immediate attention.
A good beginning, that only got better.

When I did have a look at his CD, [which I did immediately after he left] , I was so impressed with his work . The vibrant colours, the sharp forms, the sophisticated compositions. I called him to come over and have a chat.

Coming from a small village in Maharashtra, Krishna’s inspirations are from nature. The reflections and movements on water in shallow ponds. The stones gleaming under the ripples. The feel and fabric of flowers and petals. Inspirations also come from the textured walls of an aging structure. The walls are man-made, but the ravages on it are from nature. Similarly with dusty, rusty metal pieces. Man makes the metal, nature gives it the patina. These variants in texture and surfaces are what fascinated him.

But Krishna had moved from his idyllic childhood village home. Krishna was now in Bombay. He was awed by the tall high rises, the sky scraping towers. His open childhood vistas were now framed by the windows of his city space. His perception changed. His perspective had shifted.

Krishna wanted to use these two influences so strong in his mind and heart. The textures inspired by nature. The strong geometrics of the city. His works had sharp lines demarcating his canvas. They separated the vibrant planes of colours, which were so interestingly textured on his canvas.

It was a joyous meeting of two distinct effects. A jugalbandi of the two India’s -the rural and the urban. Krishna composed these paintings in windows. A frame within a frame. This was how he looked at his worlds, keeping things in perspective.

Krishna is very conscious of his environs and reacts to them. Springtime, and Holi is celebrated with exuberant splashes of colour –reds, blues, greens, yellows playing with each other. As people splashed colour on each other, Krishna splashed paint on his canvas. Autumn brings Diwali – with the warm glow of red, orange, gold and yellow.

Krishna has certainly found his genre, and, a large group of admirers and buyers

And through all this, he continues to teach at the JJ Institute of Applied Art. An artist who is also a teacher, is what makes Krishna the special person he is.

He portrays all this through his “ InspiRED Windows “………


022. 24’’x24’’, Acrylic on canvas, Untitled

Embracing the Mystic Abstract
Ashish Vilekar, Mumbai

It is not the desperate urge of progressive simplification, compulsive proposals of catharsize emotions or complex equations of frame of references that support his pictures. The world of colours, their vibrating notions and his fascination for abstraction lead him towards the mystic land of 'The Abstract Art'. That is what I know about Krishna Pulkundwar.

Embracing the mystic Abstract with a statement “I do not intend to say. I wish to present.” An artist invites troublesome tense moments. Still he is expected to continue his journey without surrendering his conscious to those tormenting moments. Krishna also went through this phase. His initial work did reflect the same.

Krishna spent his childhood in the lap of nature; from there he landed in the multi cultured mega city. The city structured with artificial, mechanical components. It was difficult to tune in so was his reaction. Krishna tried to reduce the pressure through landscapes, the only link that reminded him of his previous past. But who can define and interpret the versions of frequent changes occurring in ones mindset? The disturbances lead him to the unknown region of 'The Abstract.' Through the mist of disturbances Krishna glimpsed the visual possibilities.

Accompanied by a fistful of childhood treasures Krishna traveled through the distant land of
'The Abstract.' The restricted nature of the mega city was creating tensions against his past. The volume of the mega city rose higher and occupied the canvas. There were no human beings...just noisy levels of volume and its occupancies. The impressions of his past however showed their presence without making any noise. The aged tree trunks, crushed walls, stones, fauna and the shallow riverbed painted the sea of his vision on his soul. Tensions and stress caused by these two morphed in to his paintings. Krishna accepted their presence.

What exactly does his painting say? When an artist himself declares that he has nothing to say and nothing to convey! What should an onlooker look for? It was exactly here that the crowded, vibrant mega city colours raised their voice and noise to declare their existence. In the restricted walls of the mega city an artist's treasure awkwardly occupied its place!

Why does the crowd dominate? Why a single co-ordinating alliance with the crowded city couldn't appear in the whole picture? Is it continuous denial to the co-existence? Or is it the mutual agreement between the two of them to stay in their restricted areas of freedom? A satisfactory answer to these questions would be further extensions of Krishna's journey.

In the mysterious region of The Abstract Art, equations do not help to unveil mystery! Interpretations and meanings lead to further confusions and debates. Constant occurrence of questions is the only key to open these doors, because the region of The Abstract Art is full of constructed mirage and it still haunts people since it is forbidden. Krishna has stepped in to such a land of mystery and misery.

Thursday, March 19, 2009

Media Reviews on my Work

002. 34’’x34’’, Acrylic on canvas, Untitled.

Times of India, Bangalore, Friday, June 29, 2007
Windows Into Imagination

Krishna Pulkundwar’s Embracing the Mystic Abstract is a mélange of his vision concerning the natural and urbane. The 25 renderings of acrylic on canvas use a rich and varied palette. He uses monochrome backgrounds of black, ochre, military green and rich burgundy in most canvases and creates gentle impressions on them, almost like fabric.
All the paintings have frames with-in frames, like windows into his imagination. “As a child I liked visiting rivers and was fascinated by the reflection of shallow water, the textures of wood, stones and leaves. These developed into my frames of reference, and manifest themselves as windows and boxes in my work,” says Pulkundwar. The smaller canvases seem to have pairs in the larger frames with inverted colours and composition, managing a delicate balance. Another striking feature is the profusion of vertical lines and geometric movement in almost all paintings, “I’m from a tiny village in Maharashtra and now lives in Mumbai, so the amalgam of Nature and city life are mirrored in my work. Rusted doors, Old temple walls and vertical sky rises are interlinked playfully in my paintings,” says the artist.
Three pieces stand out for their unbridled joie de vivre with their psychedelic blues, fluorescent reds, and short brush strokes in many hues, almost like a bouquet. “These were inspired by the textures of petals and were painted during Holi.
As my neighbours were dousing each other with bright colours, I was splashing them on canvas,” he says. Two large paintings also have a network of channels that almost seem like the meandering mazes of urban life, while some have layers within each other, like delving into the different levels of the artist’s consciousness.

003. 46’’x46’’, Acrylic on canvas, Untitled.
Bombay Times, Mumbai, July 31, 2008
When Hope Is The Cure...

What is it about ‘art’ that captures the viewer? Artists from across the continent would say its ‘hope’. Nimisha Tiwari finds out more When its cold and unnerving out there, all we need is a hand of hope,” say bubbly, cheerful yet feeble children who have been battling a life-threatening ailment like cancer. In their happiest moments and also their saddest, each child would inadvertently reach out to a box of crayons to draw his/her sights of pleasure and pain. And that’s the cue which set the ball rolling for a group of 20 artists including Ajay De, Amrutraj Koban, AV Ilango, Charan Sharma, Gautam Mukherjii, Gazala Chinwalla, Krishna Pulkundwar, Nayanaa Kanodia, Nimisha Sharma, Pandurang Tathe, Raja Segar, Ravi Mandlik, Sachin Jaltare, Samir Mondal, Satish Gupta, Shankar Kendale, Sudhir Talmale, Suman Roy, Vrundavan Solanki and Yashwant Shirwadkar, who recently contributed their collective creative works themed ‘Hope and Cheer’ in support of children who are fighting cancer. Curator Pravina Mecklai who hosted this group show was not only moved by this act but also swore to do her concrete bit in bringing some cheer for the affected children. Supporting the Indian Cancer Society, this initiative brought forth art forms brimming with brightness, creativity and warmth. The participating artists were only too gung-ho about doing their bit for the children.

Artist Krishna Pulkundwar, who has lived his primary years in the rural parts of Maharashtra, derived inspiration from the flora around. “Nature in its bounty has always inspired me,” he says. Presenting and abstract painting, we asked Krishna how a child would be able to decipher this? “Children can understand various aspects to great unknown depths. In my abstract depiction, I have taken a rural texture to form the concrete basis for an urban world. When there is balance, there is success and thus there is hope,” the artist explains.

004. 12’’x12’’, Acrylic on canvas, Untitled.

Saffron art café article, November, 2007
An exhibition of paintings by Krishna Pulkundwar

The vibrant colours, sharp forms and sophisticated compositions are the hallmarks of artist Krishna Pulkundwar’s creations. Coming from a small village in Maharashtra, his inspirations are from nature. The reflections and movements on water in shallow ponds, the stones gleaming under the ripples, the feel and fabric of flowers and petals all reflect in his works. He portrays his love for nature through his new series of works ‘InspiRED Windows’ at Mumbai based Jamaat gallery that continues till December 1, 2007. His artistic inspirations also come from the textured walls of an aging structure. The walls are man-made, but the ravages on it are from nature. These variants in texture and surfaces fascinate him. His works have sharp lines demarcating his canvas. They separate the vibrant planes of colours, which are so interestingly textured on his canvas. It’s a joyous meeting of two distinct effects - the rural and the urban. The artist has composed these paintings in windows - like a frame within a frame. This is how he looks at the diverse worlds, keeping things in perspective.An artist who is also a teacher (he teaches at the JJ Institute of Art), Krishna Pulkundwar is devoted to art. Born in 1971, he completed his B.F.A. (Applied Art) from Govt. School of Art, Aurangabad. Among his significant solo shows are the ones at Jamaat, Mumbai. 2007, Time and Space, art Gallery, Bangalore. 2007, Jehangir Art Gallery, Mumbai. 2006, Legacy Art Gallery, Mumbai 2005; Bajaj Art Gallery, Mumbai 2003, and Sir J. J. Institute of Applied Art, Mumbai 1999. Having moved from his idyllic childhood village home for the city of Mumbai, he was overawed by the high rises and the sky scraping towers. His open childhood vistas were now framed by the windows of his city space. Once he arrived in the city, his perception changed; his perspective had shifted. The artist looks to use these two influences so strong in his mind and heart - the textures inspired by nature as well as the strong geometrics of the city.

005. 46’’x46’’, Acrylic on canvas, Untitled.

Hindustan Times, Mumbai, April 27, 2008
Breathing colours

Being a commercial art teacher his first passion remains canvas painting by applying various mediums and experimenting with the art with his own unique ideas. Krishna Pulkundwar has now become well known name in the field of fine as well as applied art in India as well as abroad. Now the resident of Navi Mumbai Kharghar revels his aesthetic journey in the field of art. From morning till 5 in the evening this artist plays the role of teacher in J.J School of Art and after that he becomes his own and indulges himself in his self created world of colours. However Krishna sir modestly admits that college students and the environment there plays vital role in his inspiration. He loves to teach as well and further added “out of 100 percent 10 % knowledge is gained by my students and I receive 90 % from them as they have brilliant ideas and intelligent doubts”
Talking about art according to Krishna worthiness of an art or painting depends upon the journey of an artist in the field along with the consistency, novelty and experiments with several mediums and all these factors constructs the composition of the art presented by an artist. From his initial days he used to draw landscapes gradually he shifted to modern or abstract paintings. He explained “after certain years of my landscape drawing I realised that whatever I am doing is emulating the nature or whatever exist thus decided to shift my interest towards the modern or abstract as I want to create my own identity and style”. He further added that his paintings are created for every individual and they can ask for whatever meaning from it, understanding my art differs from person to person and his view points”.
Talking about his landscape paintings he revels that he is originally from Khadhar located in Maharashtra state. His native place is blessed with ‘Bedar fort’ (which is listed as one of most beautiful forts in Maharashtra) even Krishna said he is very much in love with that fort actually this artist is fond of structures. Whenever I see any structure, be it historical or modern or ordinary he immediately starts his journey beyond time. He started thinking what would be the future of this structure or what past it must be having and other ‘n’ number of things is started thinking. And these thinking processes leads him to the different derivation and ways from where he collects his colours and than paint it just for the sake of pure platonic pleasure.

006. 34’’x34’’, Acrylic on canvas, Untitled.

Deccan Herald, Bangalore, July 3, 2007

Krishna Pulkundwar, a youngish painter from Mumbai, calls his exhibition at Time & Space (June 28 to July 4) “Embracing the Mystic Abstract”. Just the fact that abstraction as such cannot be defined in its references does not necessarily make it mystical. Actually, the prevailing impact of his acrylics on canvas is one of simple yet indulgent design. The artist plays with combinations of heavily textured abstract brushing and clear, rectangular planar divisions.There is an effort to impregnate the whole with vibrancy and a sense of atmosphere being enclosed in an architectural geometry with window or door-like framing, shifting building blocks and symmetrical close-ups. One may even guess the memory of nature behind some of it. All of it, however, remains on the surface of things, as attentions is paid mainly to an easy attractiveness of thick colours and, more yet, to designing. A comparatively better impact is achieved when the artist loosens up and intensifies his brushing over limited motifs seen at a proximity and almost freed from the geometric pattern. ________________________________________________

007. 46’’x46’’, Acrylic on canvas, Untitled.

Beautiful People, Mumbai, November-December 2007
Red Naturally

Inspired by nature, Krishna Pulkundwa’s work is bright, bold and definitive
The first thing that strikes you about the works of Krishna Pulkundwar as you walk into Jamaat is the warm red colour. Interjected with orange, brown, black and occasional shades of blue, the ruby hues streak the white walls of the gallery. Inspired Windows is the young artists’ most current body of work. it’s abstract, sharp, bold and definitive.
Entirely inspired by nature, Krishna’s art has always been his interpretation of the natural world around him. His early works like Old Manali House and Old House and Trees were predominantly landscapes – subdued village scenes and rural figurative works. Inspired Windows on the other hand, is an outrage of colour and depth. His move to the city coupled with his growing maturity and confidence as an artist is what perhaps led to this dramatic shift in style and form. The artist himself simply describes the shift as a need for change. Krishna is inspired by the textures of leaves, wood and rocks and his art showcases these subtleties of nature through structured frames or windows. His present body of work is a sophisticated combination of abstraction and symmetry, washed in bright, warm colours.
Krishna is turned on by nature – reflections and movements on water in shallow ponds, stones gleaming under the ripples, the colour of the under bark of a jackfruit tree in the monsoon, and most of all the feel and fabric of flowers and petals. “Inspirations also come from the textured walls of an ageing structure. The walls are man-made, but the ravages on it are from nature. Similarly with rusty metal – man makes the metal, nature gives it the patina,” he says. These variants in texture and surface, inspired by nature fascinate him. Even his technique is inspired by his experience with nature. As a child he used to go to the river where he saw rocks and weeds through the water, creating transparent images. Krishna uses acrylic the way he would use water-colours so that despite the use of multiple layers, the base texture and colour on the canvas are still visible.
All untitled, his paintings are differentiated by the images they invoke in the viewers’ minds. The strong lines on his canvas are indicative of the geometry of the city in which he now lives. Some are splashes of colour and look like Holi in Springtime. Others are warmer, and the glow of orange and gold bring Diwali and Autumn to mind.
Inspired Windows will be on display until the 1st of December 2007,at the Jammat art gallery, Colaba, Mumbai.


    Krishna Pulkundwar

      Born:        3rd March 1971, Kandhar, Maharashtra State, India.

      Education:    B.F.A. (Applied Art) with "First in the Order of Merit" 
                 from Govt. School of Art, Aurangabad. 1991, 
                 Maharashtra state, India


      Selected Solo Exhibitions
  *             2013 ‘Moving Ahead’, Jamaat, Art Gallery, Mumbai.
  *             2013 ‘Moving Ahead’, Jehangir Art Gallery, Mumbai.
  *             2010 ‘Delving within’, Jamaat, Art Gallery, Mumbai.
  *             2007 ‘Inspired Windows’, Jamaat, Art Gallery, Mumbai.     
  *             2007 Time and Space, Art Gallery, Bangalore.
  *             2006 Jehangir Art Gallery, Mumbai.
  *             2005 Legacy Art Gallery, Mumbai.
  *             2003 Bajaj Art Gallery, Mumbai.
  *             1999 Sir J. J. Institute of Applied Art, Mumbai.

      Selected Group Exhibitions
  *             2013 Mahua Art Gallery, Bangalore.
  *             2012 Tilting Art Gallery, Pune.
  *             2009 Museum Gallery, Mumbai.
  *             2007, 2008, 2009 & 2010 Jamaat  Art Gallery, Mumbai.
  *             2009 Tradition Art Gallery, Mumbai
  *             2008, 2009, 2010 & 2012 Art Fusion Show 
                Nehru Centre Art Gallery, Mumbai
  *             2008 Hotel Grand Hyatt, Dubai
  *             2008 “Hope and cheer” Charity art show 
                for Indian Cancer Society,
                Jamaat Art Gallery & Taj Mahal Hotel, Mumbai.
  *             2006 & 2008 Legacy Art Gallery, Mumbai.
  *             2007 “Earth on Canvas” Charity art show
                (Contemporary Art India Gallery, Kolkata) for WWF New Delhi
  *             2007 Indraprastha Art Gallery, New Delhi
  *             2006 Art Mosaic, Art Gallery, Singapore. 
  *             2009 The Indian Academy of Fine Arts, Amritsar
  *             2004, 2005 & 2006 The Bombay Art Society
  *             2006  Camelart Foundation 9th Western 
                Region Exhibition (Professional category)               
  *             2003, 2004 & 2005 The Art Society of India.
  *             2003 The Hyderabad Art Society, Hyderabad.
  *             2003 South Central Zone Cultural Centre, Nagpur.
  *             2002 & 2003 All India Fine Arts and Crafts Society, 
                New Delhi (Maharashtra State Exhibition).
  *             2002, 2004 & 2006 'Chatak' a Monsoon show 
                organized by Nehru Centre Art Gallery, Mumbai.
  *             2003, 2004, 2005 & 2006 Annual 
                Members' Show of Artists Centre, Mumbai.
  *             2003 & 2005 Lokmanya Tilak Art Exhibition, Pune.
  *             2003, 2004 & 2005 Annual Monsoon Show 
                by Bajaj Art Gallery, Mumbai.
  *             1994 to 2008 Maharashtra State Art Exhibitions 
                (Professional Category.)

        Paintings in collection
  *             Australian consulate General, Mumbai
  *             Raj Bhavan Club, Mumbai
  *             Reliance InfoTech, Mumbai
  *             State Bank of India, Mumbai
  *             Vainguinim Valley Resort, Goa
  *             Colorcon Asia Pvt. Ltd., Goa
  *             All India Council for Technical Education, Mumbai
  *             Sir J. J. Institute of Applied Art, Mumbai
                and Prestigious Private and Corporate 
                Collections in India & Abroad

      Honours and Awards
        National awards
  *             2001 National Literacy Mission, New Delhi.
  *             1999  National Literacy Mission, New Delhi.
  *             1998 The Hindustan Times, New Delhi.
  *             1995 National Open School, New Delhi.
  *             1991 GOLD MEDAL in National Youth Festival 
                 held at Madurai Kamraj University.
  *             1991 GOLD MEDAL in Zonal Youth Festival 
                 held at Banaras Hindu University.
        State awards
  *             2012 Cag Guru of the year
  *             2006 Maharashtra State Art Exhibition Professional Category.
  *             2000  Municipal Corporation of Greater Bombay.
  *             1998 Maharashtra State, Department of Health Services.
  *             1997 Maharashtra State Art Exhibition Professional Category 
      Presently working
                 As a Teaching Faculty of
                 Sir J. J. Institute of Applied Art, Mumbai
                 Since 1997 till day
      Residence & Contact
                 Flat No. C-203, Balaji Aangan, Sector 3, Kharghar,
                 Navi Mumbai-410 210.
                 Phone:  (M) 9967447524,
      Lives and works in Mumbai