Kenistudio

This was one of my early milestones that stood out in my journey, and these two oil paintings mark a truly memorable chapter for me. ​These were the two works I submitted for a national-level exhibition held in Hyderabad. Each participating artist was invited to display two pieces, and seeing both of them framed and presented together on the gallery walls was an incredible experience. ​The still life featuring an ornate floral pitcher, a metallic bowl overflowing with dark cherries, apples, and grapes, proved to be particularly special. ​The companion piece I exhibited alongside it is this stylized oil study of Lord Ganesha, rendered in rich, earthy tones, warm ochres, deep terracottas, and quiet mossy greens. The compositions rely on bold contours, expressive forms, and textured brushwork. The focal point rests on His expressive eye, bringing a calm, spiritual presence to the stylized geometry of the figure. These were awarded a national-level gold medal! To top off the thrill of rece...

Someone recently asked me why I paint. I didn't have an answer. Although, "I paint because I enjoy painting" is a perfectly appropriate answer, I would not say that it encompasses every aspect of my affinity towards creativity. The answer to this question is not easy. I had asked this very same question to myself when I was treating my patients as a dentist. Initially, I found satisfaction in knowing that because of my knowledge and skill, I could make a person's life better, maybe ease their pain, or give them a better quality of life. But later on, I began to understand that doing something for another person gives me a false sense of importance. Also, patients can ignore my advice, choose somebody else, misunderstand what I said, or simply make decisions I couldn't possibly control. If my sense of meaning depended on the other person's response, I was handing part of my inner equilibrium to them. Now, whatever I do, I try to do it with the understanding tha...

The Divine Story of Vamana and Mahabali Multiple lifetimes ago, the souls of Vasudeva and Devaki engaged in long and grueling austerities. When Lord Shri Hari appeared, pleased with their devotion, and asked them, they wished for only one thing - to bear the Supreme Lord Himself as their child. While we famously know them as the parents of Lord Krishna, their divine wish was first fulfilled when Shri Hari took avatar as Vamana, a brahmin boy, born to them in an earlier incarnation as Kashyapa and Aditi. The Tale of King Mahabali During the era of King Mahabali, a formidable ruler who had conquered the heavens, completed 99 grand yagnyas. As he began his 100th, Indra grew fearful. Completing a hundred yagnyas would automatically grant Mahabali the throne of Indra. Desperate to safeguard the balance, Indra approached Lord Shri Hari for help. Responding to the prayers of the devas, Shri Hari took the form of Vamana. Shortly after His upanayana, the young Lord walked toward Mahabali’s yagn...

Beyond the Three Paces - Capturing Mahabali’s True Sacrifice in the Vamana Avatar Painting   Finding the perfect narrative moment to depict an Avatar of Vishnu is always a spiritual and a creative challenge. My goal is never to just illustrate a story. It is to capture the absolute essence and philosophical core of the Avatara.  When I began conceptualizing the Vamana Avatar painting, I knew I had to go beyond the usual dynamic imagery of the three paces and Trivikrama’s giant form. Those are powerful moments, but they are not the central points. My composition is a direct expression of the Avatar's core: Atma Nivedana, or the total surrender of oneself. The true resolution of the Vamana story isn't about Mahabali losing his kingdom. It is about his offering. Him realizing that after everything else has been claimed, the only real thing he could offer is his own self. He asks Vamana, who is both the Supreme Lord and his beloved guest, to place the final step upon his ego, effe...

 This is an extraordinary subject and a profoundly moving story. There is a visual contrast between her quiet, physical fragility in the painting and the immense, unbreakable strength of her spirit. The soft, luminous highlights catching the curve of her shoulders, the thoughtful glint behind her wire-rimmed glasses, and the gentle, unassuming posture capture that exact essence - unspoken resilience. Painting the Quiet Giant: Strength in Humility There are people who pass through this life like a quiet thunderstorm. Unassuming in presence, yet shifting the trajectory of everything around them. My grandaunt is one of those rare ones. She is the youngest of five siblings who form the bedrock of our family. Without a shadow of a doubt, every single one of us owes our lives, our opportunities, and our foundation to those five. Yet, to look at her today in her eighties, with a deceptively frail frame and slender arms, you would never guess the monumental weight she has carried. Her life...

Alla prima oil portrait painting time lapse ​We have people in our lives who step into the role of a protector so naturally that we hardly realize the sheer weight they carry on their shoulders. They are the steady anchors in a turbulent sea. The ones who cheer for everyone else from the sidelines, asking for nothing in return. ​This portrait is my oil painting of such a wonderful woman, whose life is a masterclass in resilience, grit, and quiet devotion. ​From a very young age, she stepped up to become the maternal spine of the family. She took on the nurturing and guidance of her three younger siblings, steering them through school, extra-curriculars, financial hurdles, and all of life’s early crossroads. When life throws storms at the family, whether navigating tough personal crises or standing by people who she cares about, during their difficult seasons, she is always the immovable force standing guard. ​Her strength isn’t loud or demanding. It is fiercely determined. She is someo...

In 2022, I painted this portrait for my parents' 40th wedding anniversary. But looking at it today, I see details in their presence that I was only beginning to understand when my brush touched the canvas. ​My mother, at 65, is the quiet force that holds our universe together. To an outsider, she is in the crowd, cheering gently from the sidelines. But the truth is, she has spent decades carrying this family on her shoulders. Her sacrifices aren't grand, dramatic statements. They live in the smallest, daily details that most people overlook or take for granted. The tiny concessions, the invisible choices, the ceaseless everyday labor. When you look closely, you realize we are all standing on her shoulders. ​My father is a different kind of anchor. Retired over a decade ago, he exists in a rhythm entirely his own. He doesn't cheer. He observes, giving a slight, silent nod of approval when it matters. Being with him often reminds me of the Bhishma Parva. It isn't a Guru-...

Painting Matsya Avatar - The Spiritual Irony of Protecting the Protector The first of the Dashavatara series painting, the Matsya Avatara, looked quite straightforward in the beginning. A huge fish, Matsya, guiding the precious ship of survivors through the roaring pralaya waters. But I thought, what is the true essence of this avatara? The answer was protection. Of course, we know who protects us. Who other than Lord ShriHari has the capability to sustain the universe? ​A few days later, I was reading a passage from the Bhagavata Purana where Krishna is ready to leave Indraprastha for Dwaraka after the Pandavas have settled in. Yudhishthira, overflowing with love for Krishna, insists that the Lord cannot travel alone and requires bodyguards. It struck me as profound. Why would the Being who safeguards the entire cosmos need protection from mere thieves and wild animals? Yet Krishna accepts the gesture without a second thought. He is not filled with ego. He is complete. So, when He see...

Garuda vs Kaliya. My contemplation of the story from Shrimad Bhagavata Purana.  This is my oil-on-canvas painting that depicts Garuda attacking Kaliya, the serpent king, in an episode from the Shrimad Bhagavata Purana. I wanted to capture the moment when Kaliya’s pride brings him face to face with the consequences of his actions. The story begins in Ramanaka Island, where the serpent race lived under the fear of Garuda, the mighty carrier of Lord Vishnu. To maintain peace, the serpents offered Garuda his share of food at regular intervals. But Kaliya, swollen with pride, began consuming the offerings himself. This was not merely an act of hunger. Kaliya’s action reflected his refusal to respect the order that protected his people. He believed that his strength and venom gave him the right to take what belonged to another. His arrogance eventually brought Garuda upon him. Garuda attacked Kaliya, striking him with his powerful wings. Wounded and defeated, Kaliya fled Ramaṇaka Island ...

 The Quiet Grace of Adivaraha: A Reflection on Divine Kindness and Sadhana ​ When we think of the Varaha Avatara, the mind often conjures images of fierce celestial battles. But when I sat down to paint Adivaraha for my Dashavatara series, I didn't want to capture the fury of battle. He can become fierce. But that fierceness is not the essence of the avatara.  ​I wanted to capture His quiet, unshakeable calm. ​I wanted to paint the serene face of a protector who lifts everything that exists with absolute grace. All because the higher jeevas, endowed with bodies, sadhana-sharira, longed for a realm to perform sadhana and ultimately attain moksha. ​This is the true, overwhelming kindness of the Supreme Lord. He doesn't just grant us our spiritual journey. He builds and sustains the very floor beneath our feet so that we might walk toward Him. ​The Weightless Universe and the Primordial darkness ​In this composition, the backdrop is a deep, swirling darkness. The Lakshmyatmaka Ta...

When I first set out on my Dashavatara series, I assumed the process would be straightforward. Pick pivotal moments from my existing research and translate them to canvas. ​My initial 2020 study of Narasimha, an oil on primed paper, felt obvious at the time. My focus was purely on raw, fiery rage. I wanted a lion’s face consumed by flame with Prahlada standing untouched in the corner. ​However, after finishing the Varaha Avatara and delving deeper into the Bhagavata Purana alongside Sri Madhvacharya’s Srimad Ananda Tirtha Bhagavata Tatparya Nirnaya, my perspective shifted completely. I realized I had to revisit the painting. ​The fire of Narasimha was never aimless fury. It was a metaphorical furnace meant solely to burn away Hiranyakashipu's ego and Adharma. Where the world saw an unnatural, terrifying, and a violent form, Prahlada saw a mother. ​Just like a mother who chastises her child out of intense love, giving him chances to rectify his ways before taking firm action, the Lo...

Vasudeva’s Procession Through the Yamuna We often imagine the journey of Vasudeva from Mathura to Gokula as the journey of hardships, carrying a newborn child at night through a raging river in a terrible storm, but when I came across Sri Vadiraja Tirtha’s description of this journey in Rukmiṇisha Vijaya, I began to see it in a new light. This was not a journey of an escape. It was a procession. On that dark Ashtami night, the Supreme Lord appeared as a tiny newborn child. "Tam adbhutaṁ bālakam ambujekṣaṇam!" Vasudeva placed Him in a wicker basket and set out towards Gokula. As I imagined that journey through Vadiraja’s eyes, the entire universe seemed to become part of His procession. Shesha spread his thousands of hoods above Krishna like a royal umbrella - Chatra seva. Vayu moved gently around Him, performing Chamara seva. The Gandharvas sang and played divine music. The Apsaras danced. Celestial flowers showered from above. Even the thunderstorm seemed to become part of t...

There is a quiet, almost sacred stillness in a forest blanketed by heavy fog. In this study (10" x 14", oil on primed paper), my main intent was to capture that serene, cool atmosphere where light barely breaks through the dense canopy above. ​Building Atmospheric Depth To convey the feeling of stepping deeper into the woods, I focused heavily on value transitions and temperature shifts. The distant trees are rendered in pale, desaturated blue-greys, almost dissolving into the cool haze. As the eye moves into the middle ground and foreground, the values deepen into dark, sculptural silhouettes, creating a dramatic sense of spatial illusion and recession. ​The Forest Floor Below the ghostly veil of mist, the damp earth comes alive. I wanted the forest floor to feel rich and tactile, like damp earth, scattered fallen leaves, and vibrant patches of moss crawling up the mossy bark of the foreground trunks. The contrast between the warm ochres and earthy tones on the ground agains...

This is a painting I completed recently and I am so excited to finally share it with you, along with the journey of how it came to be. This piece is incredibly personal and technically challenging, pushing me far out of my artistic comfort zone. ​The subject is Draupadi , one of the most powerful figures in the Mahabharata, but I wanted to paint a specific, liminal moment: her birth from the sacred yagña fire. ​The Vision: Innocence and Intelligence ​According to scripture, Draupadi did not enter this world as a baby; she emerged as a full-grown young woman. This is what compelled me to paint this exact scene. It’s a moment of profound in-between. I chose this moment because it has a raw innocence of a child but the intelligence and knowledge of a woman. ​You can see that liminal state in her expression. She looks forward with intense energy, ready to fulfill her destiny. As a mother, I couldn't help but see reflections of my own teenage daughter in that face. Especially in those ...

Yajñaseni Draupadi - Progress The second pass of Yajñaseni has been less about adding detail and more about discovering relationships between flame and form, darkness and light, coolness and warmth, innocence and inner power. The first stage of the painting was still very much immersed in darkness. Draupadi seemed to exist almost within the fire rather than apart from it. Her form was there, but it was deliberately indistinct, allowing the surrounding blue, violet and earthy tones to establish the atmosphere before the figure itself became fully visible. As the second pass progressed, I began moving away from simply describing fire and started trying to create the feeling of a divine blue radiance from which Draupadi emerges. Less like something burning around her and more like the sacred energy through which she has entered the world. At the same time, Draupadi's face began to take shape. I wanted her to retain a certain youthfulness and innocence, while carrying a quiet intellige...

The Cosmic Boar: Unveiling Varaha from the Dashavatara Series The Dashavatara series continues, and this time, we are diving deep into the cosmic ocean with Varaha, the mighty third avatar of Lord Vishnu. When conceptualizing this piece, I wanted to capture more than just the traditional imagery of the boar rescuing the earth. I wanted to convey the immense, universe-spanning scale of the Lord Himself. ​In the final piece, Varaha’s profile anchors the canvas. I focused heavily on the rugged, earth-toned texture of the skin and the sharp, imposing sweep of the tusk. The true focal point, however, is the eye which is strikingly human, serene yet deeply intense. It gazes out against the chaotic beauty of a swirling, blue and purple vortex.  ​Behind the Brush: From Sketch to Cosmos ​Building this piece required careful layering to achieve the necessary depth. I’ve included some process photos below so you can see how the background galaxy evolved from flat, structural color blocks into...

 Hanuman at Rishyamukha There are moments in a great story when almost nothing appears to be happening, and yet everything is about to change. This painting depicts Hanuman on Rishyamukha Mountain, during the period when Sugriva and his followers have been driven into exile. Hanuman sits among the rocky landscape overlooking the forest. Somewhere beyond this quiet scene, Rama and Lakshmana are approaching the mountain in search of Sita. Within moments, this encounter will change the course of the Ramayana. I was drawn to this particular moment because it is so different from the usual depictions of Hanuman. There is no dramatic leap, no battle, no mountain being carried, and no elaborate gesture of devotion. Instead, there is stillness. Hanuman simply waits.  I imagined him sitting on the rocks of Rishyamukha, surrounded by the vast landscape, with the evening light spreading across the mountains. The smallness of the figure against the landscape was important to me. It create...

Half-Face Portraiture: Capturing the Infinite in a Single Eye   When painting sacred figures, the conventional approach is to display the entire form. We want to show the full posture, the intricate jewelry, the surrounding landscape, and the complete facial expression to convey the magnitude of the infinite being. But sometimes, showing less actually reveals more. In this oil study of Shri Krishna, I decided to break away from traditional framing. I wanted to experiment with a tight, asymmetrical, close-crop composition, slicing the face directly down the center to focus entirely on a single side bringing the composition to a more modern type of depiction with stylized form.  The Power of the Half-Crop When you cut a portrait in half, you immediately disrupt how the viewer interacts with the canvas. Instead of their eyes wandering across the entire face, they are forced to stop and look deeply into a concentrated space. The Inward Gaze By painting Krishna with his eye gently ...

 Harapanahalli Bheemavva Some paintings begin with a story. Others begin with a face. When I decided to paint Harapanahalli Bheemavva, I wanted to capture something of the quiet strength associated with her life and devotion. Rather than depicting her as an elaborate saintly figure, I chose to paint a simple portrait. A woman with a sense of stillness and contemplation. This painting was done on a 12 × 16 inch canvas board. Building the portrait I began the painting with a fairly limited palette of burnt umber, burnt sienna, ultramarine blue and yellow ochre. These four colors formed the foundation of the skin, hair and clothing, allowing me to establish the values and overall warmth of the portrait before introducing stronger colors. Once the first layers were established, I glazed the painting with transparent red oxide and indanthrone blue. The transparent red oxide brought warmth and depth into the earth colors, while indanthrone blue helped create the cooler passages and deepe...

Natural pure pigment - Hand Mulled Oil Paint Discovering a Handmade Earth Red When I began work on Matsya, the first painting in my Dashavatara series, I found myself searching for a particular quality in the skin tones. I wanted warmth, depth, and a sense of life beneath the surface. My initial attempts using commercial colors, including mixes based on vermilion hue, did not quite produce the effect I was looking for. That search led me in an unexpected direction. I ordered a few natural earth pigments and began experimenting with hand-mulling my own oil paint. Among them was an earthy red pigment that immediately caught my attention. After mulling it into oil and testing it in my paintings, I discovered a quality I had been struggling to achieve with tube paints. Hand mulled pure pigment paints, earth red and warm yellow.  The color produces a remarkable warmth in skin tones. It seems to create the impression of blood glowing beneath the skin without requiring additional glazing....

Oil Painting Narrative: How Contrast Rescued My Garuda and Kaliya Painting Garuda vs Kaliya This painting sat on my easel for months because something about it never felt right. The composition worked, but the mood didn't. When I finally returned to it with fresh eyes, I realized that the problem wasn't the drawing. It was the way the painting was communicating. A few carefully planned changes completely transformed its energy. The Problem Halfway through the painting, I hit a wall. Everything looked flat. Nothing felt electric. The air wasn't charged with the anticipation of battle between Garuda and Kāliya . Instead of tension and drama, the painting simply looked... meh. Painting looked like this halfway through.  The Rescue Before touching the brush, I asked myself a simple question. Why isn't this working? The answer came down to two things- Colour and contrast  - The background and the subjects were too similar in value and intensity, causing everything to merge ...