The war between the traditional and the modern, the constructed and the innate is a never ending one. In an attempt to bridge the gap between the two polarities or to reconcile their differences and bring their similarities to the fore, my works try to blend the two and create a revived idiom. In life as in art, it is often the traditional that is relegated to the background. My recent works show a reversal of roles: the traditional has now become the main setting for my work. The works are my attempt to study and appreciate the traditional form but in the current cultural setting, where it is still very valid. My work has undergone a steady change in focus: from being a mostly autobiographical narrative it has become more culturally relevant, with multiple layers of meaning which resonate with the viewer. In my work and in life too, I have seen this shift from the personal to the culturally relevant. And by bringing this out through my prints I try to analyse and discover the hidden commonalities between the constructed world of today and the tribal motifs of the folk art. The folk motifs are derived from their unique communication with nature; their parched landscapes notwithstanding their designs are teeming with stylised flora and fauna. Each form used to be a unique creation: the mark of a true artist. Their subsequent deterioration into a mass produced, oft replicated form that has more commercial rather than they were developed according to each creator’s sensibility. Each stylised form is the result of the artists’ close contact with nature, his/her ability to imbibe their personal vision into a nature-oriented, decorative form. It is this synthesis of nature and design that I try to bring into my work. By incorporating the folk motifs and style into my work, I draw on their rich tradition while at the same time remaining confidently within the current milieu.