2026:
“A Dying Empire?”, oil on linen, 2026, 35”x21”
“Al-Idrab Al-Aam Al-Falastini —4.7.’25”, oil and pumice on canvas, 2026, 38” x 48”
“Blocchiamo Tutto —9.23.’25”, oil on linen, 2026, 38.5” x 78”
“The Broken Horizon”, crayon, conte, pastel, poster colors, and graphite on flex banner, 2026, 2 x 43” x 216”
“proceso revolucionario”, oil on aluminum, 2026, 20”x20”
“Sinwar”, oil on aluminum, 2026, 20”x20”
“The starving and exploited masses shall be victorious!”, oil on aluminum, 2026, 20”x20”
“Avanti”, oil on aluminum, 2026, 20”x20”
“A permanent opium war”, single channel video, 2026, 10:26
2025:
Ganapathy’s House, Oil on Canvas, 17” x 27”from The Holding Pattern, Mason Gross Galleries, September 2025
“ReCoup Ad Nausea”, Oil on Canvas, 28”x22”+25 1/2” x 39 1/2”,
in the group show Irrigation at The Re-Institute, June 2025
RED EARTH at A.D. NYC, 3/15 - 4/19, 2025.
الشراعية الطائرات [Brazen Hell] , 17” x 35”, oil on canvas, 2024
Māhaprasthanam, 36”x54”, oil on canvas, 2024
Lalsalaam…, 30”x40”, oil on canvas, 2024 
Lokāyata, 35”x21” , oil on canvas, 2025
Savage Wars of Peace, 19”x17”, 2025Imperailists’ Dread at Mason Gross Project Space, Rutgers University, February 2025
2024:
Proofs at Mason Gross Galleries, Rutgers University
Notes from Underground [تحت الأرض((భూగర్భ] , 2024, 54” x 42”, Oil on Canvas
Ang kagubatan ay pabor sa Bagong Hukbong Bayan, 2024, 24”x72” (Diptych), Oil on Canvas
మావోయిస్టులు స్వదేశీ రైఫిల్ గ్రెనేడ్లను ఉపయోగించారు, వాటిలో కొన్ని పేలలేదు, 2024, 15" × 21", Oil and conte on canvas
Caño Limón-Coveñas Pipeline- Arauca, 2024, Oil & acrylic on canvas,24" × 36”
2023:
“Ghost Guns and Illegal Scooters”, 72” x 49”, Acrylic on Mulberry Paper & Nylon Shadecloth
“NYCCTV Rorschach”, 54” x 72”, Acrylic on Mulberry Paper & Shadecloth
“FURY AT THE POINT OF PRODUCTION”, 40” x 72”, Acrylic on Xuan Paper Mounted to Shadecloth, 2023
SHADOW COMMS #3: AGAINST THE WORLD PLANTATION :
[mixed sizes], 28 pages risograph & laserjet color print. This publication documents the material exhibited in the first installment of the “Against the World Plantation” series, at Solitary Confinement in Richmond. Virginia in Fall 2023. It includes reproductions of 3 large acrylic on mulberry paper paintings portraying contemporary plantation labor, and 12 small gouache & ink on mulberry paper drawings focusing on the same cash crops (sugarcane, cotton, tobacco), but these were drawn exclusively from the photo catalog of the World Bank, taken in the mid to late 20th Century.
Acrylic & Conté on 37” x 72” Mulberry Paper
1. “Sugar Makes an Ecology of Hunger”
2. [Cotton Brings] “The Power to Utterly Ruin and Enslave the Debtor”
[పత్తి తెస్తుంది] “రుణగ్రస్తుడిని పూర్తిగా నాశనం చేసే మరియు బానిసలుగా మార్చే శక్తి”
3.”Fodya Nthawi Zonse Amalidwa Kuchokera Ku Ukapola” [Tobacco is Always Grown from Captivity [Slavery]]
Gouache & Ink on Toned Mulberry Paper, 9”x12”
1. “Against the World Plantation”
2.”Dark Sunrise: Malawi Cane Fields”
3. “Cane Cutters in Negros, Phillippines”
4. “The Infernal Refinery: Ecuador Sugar Plantation”
5. “Tobacco Inspector: Trinidad”
6. “Young Tobacco Pickers: Malawi”
7. “Elder Tobacco Picker: Malawi”
8. “Rajasthan Cotton Pickers: Wide Angle”
9. “Afro-Indo-Oceanic Cottonfield- Conjoined Fate? Rajasthan to Sudan”
10. “Sudan Cottonfield: Date Unkown”
11. “Malawi Cotton in Transit”
12. “Drowned Lorry on Malawi Road”
SHADOW COMMS #2, 40 pages (mixed sizes) multi-color risograph and photocopy, edition of 125. Available online and in person at Printed Matter , in person at Property Is Theft, and more soon
Shadow Comms #2 focuses on Partition Ecologies, drawing from the colonial-eye view of documentary photography to meditate on the violent sights of borders, counterinsurgency, austerity and climate crisis as they face the majorities of the world, along with responses of insurrection and resilience. This installment of the publication project prioritizes image and experiments in formal construction over text, featuring full color drawings & paintings along with extended inserts.
SHADOW COMMS “Works On Paper” art show at PROPERTY IS THEFT, Brooklyn, NY, 4/7/2023-6/25/2023
Featuring original works from 2019-2023 reprinted in Shadow Comms
![[Dark Neocolonial Floodwaters] Jackson MS: Neighborhood Watch, 2022, Pen, Colored Pencil, and Marker on Newsprint, 9 x 12](https://freight.cargo.site/t/original/i/5e7ca80b572e8c3ecc0d93ea46d3a6d728c8bbf445289d8acda78d09bc59b150/Neocolonial-Floods-MS-PIT.jpg)
![[Dark Neocolonial Floodwaters] Puerto Rico: Power Lines in Hurricane Fiona, 2023, Pen, Colored Pencil, and Gouache on Newsprint, 9 x 12](https://freight.cargo.site/t/original/i/218d036744559f0ac6dbc797a90581875a96fc2951507a62ba313c9922fe23d9/Neocolonial-Flood-Borinquen-PIT.jpg)
![[Dark Neocolonial Floodwaters] Manila in the Claws of Rain, 2023, Pen and Colored Pencil on Newsprint, 9 x12](https://freight.cargo.site/t/original/i/9508cbd4641e5afbbfadd96839a51ff520234ef2c0d41194520310c20a424952/Manila-in-the-Claws-of-Floodwater.jpg)
![[Dark Neocolonial Floodwaters] Queens: Basement Apartment Ruins, 2023, Ink and Gouache on Mulberry Paper, 9 x 12](https://freight.cargo.site/t/original/i/fd9790e39ddd3c6b0fa80636b91e088fc9ae0dec457dad2194665d32e0eddbbb/NYC-Neo-Colonial-Flood-PIT.jpg)
![[Dark Neocolonial Floodwaters] Pakistan: Countryside to City, 2022 (Diptych), Pen & Ink on newsprint, 2x 9 x 12](https://freight.cargo.site/t/original/i/84a890af0258f565112314289c3b8d15080da73a7de6c06fff200a6ea81fecef/Pakistan-Flooding-Diptych.jpg)
“Fascism After the End of History”, Acrylic on Canvas, 24” x 36”
SHADOW COMMS VOL. 1 , 40 pages 11x17 multi-color risograph, 2022, edition of 250, (Available at The PIT and Printed Matter) Photocopy Edition Available at BRZD)
Description:
Shadow Comms Vol.1 is a collection of fragmentary meditations on radical left struggles in the South Asian subcontinent, from an ‘american born confused desi’. The project covers themes from the Indian Occupation of Kashmir to the rise of Hindu Fascism, histories of caste and british imperialism, the historic Farmer’s Strike, Naxalite groups, climate shock and garment workers struggle in Bangladesh, and more. This is a more focused regional scope than the first installment of Shadow Comms: it’s personally driven by frustration at neoliberal multicultural counterinsurgency in the wake of the George Floyd Uprising. Instead of approaching this through confessional and expository modes, the project stays with the modes of radical left surrealist traditions. This is crafted as agitprop/confrontation toward more radical forms of internationalism and solidarity among first-gen desis, and anybody alien or otherwise who can find resonance here.