A series of portraits of maestros became a means for inward enquiry. Without relying on the conventions of portraiture, the act of painting while listening to the musician became a way of knowing myself, as any challenge provides. Before painting, I wrote poetry whose meanings often remained private. Naad offered a common ground where introspection could remain intact while finding resonance with others. I stayed close to music—as a child stays close to a parent—even as the recognition the series received shaped both my artistic practice and philosophical trajectory.
Naad is the foundation of an enquiry beyond identity, technique, and expression, leading me to my next and most significant preparatory ground: Dhrupad Dagarbani.