Talking with other artists is an incredible process. You engage with the work very differently...a nd different relationships between different works start to emerge. To tap into that energy-to tap into that moment-is great for me as an exercise.

For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.

Art, for me, has always been a ticket for experience.

I'm interested in taking a form, breaking it apart, and then rebuilding it. It is about transformation for me...it is a very core notion that stabilizes my practice.

Initially I explored the tension between illustration and fine art when I first encountered miniature painting in my late teens. Championing the formal aspects of the Indo-Persian miniature-painting genre has often been at the core of my practice.

In the end, the gesture of painting becomes almost meditative, like a ritual.

I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.

I don't really listen to music when I work. I really have to focus on one thing at a time. I like a lot of quiet and peace when I'm working or when I'm thinking or when I'm reading.

I like driving. A lot. I think that's something I just enjoy the most. I can, at a moment's notice, drive across the country if, you know, I had to.

Not to be boxed in, to be able to transcend boundaries: for an artist, it's essential.