These “sculptural-prints” indicates the sensitivity of how the art-works transformed into printmaking, especially the technique called ‘etching’. First Started experiments in the year 1990 to 1995, through the outcome of these experience created 10 different works in etching on zinc-plate during the year 1995 to 2000, all these plates were then printed on varied surface of materials in different viscosity of ink.

These “sculptural-prints” indicates the sensitivity of how the art-works transformed into printmaking, especially the technique called ‘etching’. First Started experiments in the year 1990 to 1995, through the outcome of these experience created 10 different works in etching on zinc-plate during the year 1995 to 2000, all these plates were then printed on varied surface of materials in different viscosity of ink.

Each one of these works witness, how the conceptual orientation converted into subject matter and gets submerged into material implementation and how the relevant technique was used.

Why? -etching:
Sensing this technique has unique quality to deliver the visual- illusion of multi-layered high-projection in the prints which is lying in the plate with in a millimeter. so, it creates more interactive depth even in the cosmetic surface of the work and also helps to penetrate from skin to body of the work. On other-hand the nature of building process of these works is time consuming, so the multifaction methodology of this technique shrinks the time expansion of my making process.

Etching was the primary medium taken to create synchronization between the concept converted into materialization, also categorized in the manner of “sculptural-print” which consists in it multiple three- dimensional sculptural units. Each one of these units stands with substance of subjective identity with subtle approaches to enhance the main unit. This electric way of working methodology is the outcome of experience of the earlier experiments in the process of etching.

This maximalist approach consists innumerable layers morphing into exquisite details to achieve the density, due to this each one of the works carries a time span for years together. This entire process of each one of the works was started and finished randomly. At this stand point these works do not stand within old or new according to my timeline, because the whole outcome is the process of three decades and the product of a single state of mind. To define this entire process coined the name “timeproof-series”

Sculptural Prints