| 1981–84 |
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BA Hons 1st (Graphic Design), London College of Printing, London, England. |
| 1984–87 |
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MA Royal College of Art (Textiles and Illustration), London, England. |
| 1988–90 |
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British Council / Commonwealth Arts Scholarship. |
| 1992 |
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Interior design work, public and private commissions and site specific commissions in the UK. |
| 1990–97 |
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Studio PhD Royal College of Art, London, England. |
| 2001 |
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Nominated as artist working in collaboration with Alsop & Stormer Architects on regeneration of |
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Stonebridge Estate, London, England. |
| 2001 |
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Awarded with RSA 'Art with Architecture' start-up sponsorship for Stonebridge project, London, UK |
| 2006 |
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Visiting lecturer at universities including Beirut, Lebanon. |
Selected exhibitions
| 1988 |
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Erco Lighting, London, England. |
| 1991 |
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Erco Lighting, London, England. |
| 1992–98 |
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Design and colour consultancy work with major retail developer Monsoon, London, England. |
| 1997 |
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Henry Moore Gallery, Royal College of Art, London, England. |
| 1999 |
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Robert Sandelson, London, England. |
| 1999–00 |
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Interior site specific commission designing and creating large restaurant interior involving fresco/colour work in collaboration with Bijoy Jain Architects Associates, Bombay, India. |
| 2000 |
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Interior site specific commission involving fresco/colour work at Arthur Anderson
offices, Bombay, India. |
| 2001 |
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Robert Sandelson, London, England. |
| 2002 |
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Robert Sandelson, London, England. |
| 2003 |
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Kashya Hildebrand Gallery, New York, USA. |
| 2004 |
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Kashya Hildebrand Gallery, Geneva, Switzerland. |
| 2005 |
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Kashya Hildebrand Gallery, Geneva, Switzerland. |
| 2006 |
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Collaboration with Bijoy Jain at 'Studio Mumabi', Mumbai, India, with colour consulatation and execution. |
| 2006-07 |
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Collaboration and site specific installation with Alsop Architects. |
| 2007 |
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Robert Sandelson, London, England. |
statement by the artist
“The fresco process of Araash originates from Rajasthan in India and is built up from layers of slaked lime and ground marble. It is a centuries old technique which does not in itself have any particular sanctified role or significance other than that which the artist may take the personal decision to impart to it. For me it holds a sense of magic and sensuality.
“Colour is a central theme of my work and important to the technique of Araash. Araash enables pigment to be built into its surface, so that colour becomes integral - dense solid matter with a depth and purity.
“Drawing is an integral part of the process as well, however simple the image or mark made. The image is beaten into the wet fresco ground, so working in this way the drawn image needs to be literally ‘constructed’. This necessarily involves the elimination and paring down of details which are ephemeral or superfluous, the more minimal the image, the more crucial the drawing and definition of that shape becomes.
“This attempt to take control and create some sense of order, is part of the same rationale which intimates a thought pattern that is not restricted to one’s work alone, but that follows through every aspect of life; it is an attempted process of refinement.”
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