Current practice
Syntactic Semantics brings recurring forms into a space between shape and sign. They cluster, divide, and transform—suggesting fragments of objects, notation, or writing while resisting fixed interpretation.
The body continues an inquiry visible in Syntactic Structures, where the construction and relationship of visual forms held greater emphasis. The continuity matters, but the earlier works remain complete in themselves.
Artistic development
My passion for art, animation, and illustration goes back as far as I can remember—to the pictures in children’s storybooks from an era now long gone.
In the early 1990s I set that love aside while building a career in technology, driven by a parallel fascination with computing. Around 2000, while living in the United States, I encountered the writings of Kimon Nicolaïdes. His approach changed how I understood drawing and set me on a new road of discovery.
After many years working with computers, I began reducing the time I gave them professionally and returned more fully to the things I loved. The two paths no longer feel separate: observation, systems, gesture, and invention move between my art and my technological practice.
Nature provides inspiration and experience. Art enables and enhances the experiences of life.
Pissarro, Cézanne, Vermeer, Wassily Kandinsky, and Hans Hofmann are among the artists and thinkers who continue to provoke questions for me.
Art and computation
In figurative work I focus on essence, energy, and movement—the attempt to receive the subject all at once. In non-objective work I allow line, form, colour, value, space, and texture to find their own relationships. In algorithmic work I enter into a conversation with rules, chance, and computation.
Writing and books
Writing extends the practice through essays in Tamil and English. The two-volume Tamil series ஓவியம்: தேடல்கள், புரிதல்கள் gathers observations on making, looking, and thinking about art.
View curriculum vitae