Fifty-one paintings, grouped as they are grouped in the studio. Dimensions are the real canvas, not the crop.
9 works

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Inspired by Bhagat Dhanna Ji, the farmer whose faith turned a stone into divine presence. In the film Bhagat Dhanna Jatt, the priest's ritual is empty, yet Dhanna's belief makes the stone sacred. His sincerity carries more weight than ceremony. The clip is from the movie Bhagat Dhanna Jatt(1974). I've been thinking about how far abstraction can stretch before we reach back for form. What would a shape mean if we couldn't see? What is the form of a feeling, or the outline of something invisible? We choose form because it comforts us, it helps us speak, to touch, to be seen. Rituals, forms and the shapes we create aren't truth on their own; they're subsets of presence, gestures reaching toward what's already here.

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In the Mexica worldview, to possess a heart (Yollotl) is to be in a state of constant movement (Ollin). There is an ancient vibration in the teyolia-the vital life force of consciousness. This narrative traces back to the very origin of Mexico City: the heart of the warrior Copil cast into the waters of Lake Texcoco, germinating into a sacred nopal cactus where an eagle descended to mark the center of the world.

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The conclusion of this series served as a passage into the shapeless. It gives character to the moments where we stop fixating on the 'forms' of what we feel and instead embrace the soft, undefined nature of the soul. To step 'indoors' is to move past the threshold of ceremony or performance and into a state of pure presence. Here, the weight of the stone and the sincerity of the heart become one; there is no need for a seen outline when the invisible is felt so clearly.

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4 works

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Four days in Paris, the city of the pretty, had me thinking....it is way too hot for September

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Four days in Paris, the city of the pretty, had me thinking....it is way too hot for September

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Four days in Paris, the city of the pretty, had me thinking....it is way too hot for September

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4 works

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Four days in Rome

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Four days in Rome

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Four days in Rome

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2 works

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Painting 1 from The Greece Residency, January 2024. This painting explores the concept of time, how our journey began at a specific point, bringing with it everything we've been, into the present, shaping a future that remains undefined. Each of us carries a layer of mystery, unknown even to ourselves, drawing the universe toward us as it seeks harmony with us. The residency centered on the significance of myth and the role of mystery in both the physical and psychological realms. Vikram discovered a world where the continuity of myth relies on human belief and faith and the influence and power we hold over time that has passed.

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During my residency in January 2024 in Athens, immersed in the myths of the afterlife and the sacred rites of Elefsina, I set out to paint the erosion of time. But in the quiet of a museum hall, I found something else: a vessel, ancient, broken then unbroken, standing watch over memory and loss. 'The unseen road is longer than memory.'
1 work

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ਸਦ ਜੀਵਨੁ ਭਲੇ ਕਹਾਹੀ ॥ ਮੂਏ ਬਿਨੁ ਜੀਵਨੁ ਨਾਹੀ ॥ -Bhagat Kabir ji 'People define a good life in many ways, but without dying (living humbly, embracing the present, staying in hukam), there is no life.' 3) ਧਰਤੀ ਹੇਠਲਾ ਬੌਲਦ (Dharti hethla Bauld) Kulwant Singh Virk
31 works

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oil & canvas, water & body

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Cool head

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In this painting, I sought to bridge the physical intensity of an Arctic seal hunt with the metaphysical presence of Sila, the spirit of the air and life force. Inspired by a journey to Iqaluit and the stories shared by a close friend, the work captures the surreal brilliance of a day moon over the polynia (the water that never freezes). The stark contrast between the deep blue water and the vibrant red of seal blood on the ice serves as a grounding point for the ethereal spirals that dance through the composition. These spirals are not just shapes; they are Sila herself, weaving together my friend's life journey, the memory of our shared expedition, and the enduring, breathing energy that animates the frozen landscape.

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1 Oil painting a day

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Sunsets are easy, Hide the Sun behind your thumb.

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I hit a wall while deciding between Red and White at a restaurant and started thinking about why I was mad at my heart.

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Punjab 2024

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Sad painter eyes because.. some flowers are dying, some flowers are dead.

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Sunsets are easy, Hide the Sun behind your thumb.

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Have you ever felt blind in a garden, forgotten how to smell and hear the grandness of co-existing abundance? What did you choose over all that so you could feel a sense of belonging? Did you give structure only to that dark thought? Some interactions with my closest people made me question if too much optimism leads to a kind of separation, triggering a chain reaction of doubts. But the truth is, nothing will slow time down. We might as well dive into the chaos, and we'll feel that the abundance will bring belonging to us.

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I wish I were a poet instead of a painter, so I could explain, what isn't home, with a lot more drama.

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Oil on a found wood panel, 2022

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Self portrait, 2022

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