This collection is a study of contrasts, weaving together memory, materiality, and movement. Rooted in two Indian art movements from my hometowns — Delhi Silsila and the Bombay Art School—it unfolds as a dialogue between past and present, the mystical and the mundane.

A Head of a Gosain [Pestonji Bomanji, 1877] recalls childhood Sundays in Delhi. A priest visiting every Sunday, the scent of mustard oil, the clink of coins as they turn golden. That moment is brought alive in scattered brass beads, in the grounding presence of wooden meditation-like beads hand-embroidered onto the garments.

The Extinguished Flame [AR Chughtai, c. 1920s] is a hazy recollection mirroring my complicated relationship with Bombay. Its dusky, mystical tones still evoke a sense of the ethereal. The city is home now, yet the painting lingers—a reflection of nostalgia, longing, transition.

Polarity sets the rhythm. Glossy ceramic buttons meet soft hand-knits. Classic menswear stripes and checks elevated by delicate beading, tassels. The weight of a chunky cardigan against the slink of another. Structure and fluidity, sharp lines and blurred impressions.

A meditation on duality. An exploration of contrast. A collection that invites interpretation, encouraging you to find meaning in the tension between past and present, softness and edge, tradition and reinvention.