Resurface

How does the built world remain active, even when its transformations go unnoticed? Resurface is a photographic enquiry into this question.

Every surface holds a record. Materials absorb climate, season, use, and time — and express these absorptions visibly, in colour, texture, and the slow alteration of form. The buildings and structures in this work are not monuments. They are sites of ongoing change, most of it unremarked.

The photographs begin in observation, but they do not remain there. Colour becomes a means of translation, carrying sensation rather than record. What is visible is not the surface as it exists, but the surface as it is encountered across duration.

Resurface moves through climates, environments, and material conditions — each chapter a different set of pressures, a different quality of light, a different surface.

Ongoing series — new chapters added as the practice develops.
All works archival pigment print on 310 GSM etching rag.

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Decisions

Surface 310 gsm etching rag — matte, uncoated, fine grain texture

Mounting Glass-mounted — sold with glass

Process Archival pigment print — lightfast, permanent inks

Finish Matte — no laminate, no varnish

At the Goa Open Arts Festival 2026, the works were hung without glass — a deliberate choice for that exhibition. The matte grain of the etching rag, exposed directly to ambient light, produced a response that confused the medium. Visitors asked whether the works were backlit. Some reached out to touch the surface. Others asked which colours had been used — water, or oil.

The works are photographs. The surface is responding to the room. The editions available for acquisition are mounted with glass.

Exhibition Views

Goa Open Arts Festival 2026

“Which colours did you use, water or oil?”

I had put up do not touch signs, but they were not enough. I ended up stationing three people at the walls for five days. Visitors thought the works were glowing from inside and kept looking for the light source. When they asked which colours I had used, water or oil, and I told them these were photographs, most did not believe me at first.

People came back more than once over those five days. On the last day, a person in a wheelchair returned and simply said: I am back again. I did not know what to respond. The artists sharing the festival with me left their own rooms to bring their families here.

This was my first time showing personal work. I was nervous.

Goa Open Arts Festival · February 2026 · Goa, India

Goa Open Arts Festival — February 2026 — Goa, India

Rain changes the conditions under which the built world can be seen. Surfaces respond first.

The works in this chapter were made during the monsoon in Goa, when architecture absorbs water, colour, and growth at an accelerated pace. Walls darken. Pigments shift. Organic life emerges across structures that otherwise appear stable. These changes register ongoing occupation by climate and time, independent of human presence.

Nine works — Goa, India — 2023–2024

Coming Soon

The Matter
of Pause

176 pages of photographs, notes, and fieldwork drawn from years of sustained looking. An enquiry into duration, stillness, and the gradual unfolding of perception — available in digital and softcover editions.

— Add price — 176 Pages · Softcover · Digital Edition Available

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Decisions

Goa Open Arts Festival 2026

Cosmic Return

Burnt Earth

Chromatic Rupture

After The Fall

Cracked Spectrum

The Still Organism

The Forgotten Skin

Erosion

Imprint

The Matter
of Pause

The series
continues.

Your Cart

PrintDecisions

Goa Open Arts Festival 2026

Cosmic Return

Burnt Earth

Chromatic Rupture

After The Fall

Cracked Spectrum

The Still Organism

The Forgotten Skin

Erosion

Imprint

The Matterof Pause

The seriescontinues.

Print
Decisions

The Matter
of Pause

The series
continues.