Resonance

Over the course of three decades, Arjuna has cultivated a singular visual language rooted in the poetics of the everyday, rendering the intimate theatre of domestic life with an unflinching yet tender gaze. His oeuvre, deeply embedded within the quotidian rhythms of his close-knit family, transforms the mundane into the mythopoetic. Each canvas a reverie drawn from lived immediacy.

Working predominantly in oil through the alla prima (wet-on-wet) technique, his spontaneous, freehand brushwork reveals a masterful command of form, structure, and spatial dynamics, executed with an immediacy that belies its profound formal intelligence. His compositions do not merely depict but rather enact the ephemeral interplay of time & presence, often capturing fleeting gestures and liminal moments with an almost cinematic sensitivity to angle and perspective. This sustained experimentalism, marked by an evolving yet coherent aesthetic, is grounded in a rigorous understanding of painterly tradition, yet subverts it through a fluid embrace of art informel and intuitive mark-making. Within his figural distortions and gestural abstractions, one senses a deeper meditation—a visual philosophy wherein the body becomes both vessel and mirror of the self. In this way, his work transcends documentation to become a metaphysical inquiry, a lived archive where paint, family, and the passage of time converge.

For over three decades, this experimental avant-garde painter has charted an intensely personal yet formally rigorous trajectory, one that excavates the sacred within the quotidian through a consistently evolving oil practice. Rooted in the domestic topography of his close-knit family, his work transmutes mundane daily encounters into metaphysical tableaux, rendered with a bravura colpo di pennello and a mastery of alla prima technique. His freehand, gestural brushwork, at once intuitive and architectonic, operates as both invocation and exorcism, collapsing distinctions between memory, immediacy, and prophetic vision. Here, painting becomes not merely representation, but a temporal vehicle: his canvases function as mnemonic palimpsests, fusing recollection with present sensation and a visionary anticipation of the not-yet. Through an astute command of structure, form, and spatial dynamics, inflected by a deep phenomenological sensitivity, he articulates a kind of psychic topos, where the intimate rituals of familial life are elevated into archetype.

The oil medium, with its sensuous materiality and durational depth, becomes his instrument for contending with time itself; each mark, a rhythmic incantation toward the eternal. Within this practice, his figure drawings emerge as luminous residues of presence, embodied gestures that speak less of anatomical fidelity than of anima and affect, revealing a painter whose deepest subject is not merely the body observed, but the soul remembered.