SISTER MISFORTUNE



Alakshmi, the goddess daughters are never named after, gives this series its name. She is the dark side of the ever welcome Lakshmi, Goddess of Fortune, who really needs no introduction. Alakshmi is Sister Misfortune. And she does need an introduction. For the simple reason that she is so minimally engaged with. For our natural, human response is to shy away from the unpleasant.

But how dark is dark? Is it as disturbing as we have been led to believe or is it merely the rest of the story? And thus begins an exploration both disturbing and ultimately triumphantly life affirming. An exploration not just of duality but of multiplicity. This is the exhilarating and unfathomably complex universe of Woman appearing as she does in her various and beguiling avatars in the pantheon of goddesses of Hindu mythology. Sister Misfortune is also a probe - compelling, uncompromising and fearless – like the goddesses themselves – into our attitudes - women towards themselves, men towards women. How does the idea of a goddess coexist with Everywoman? How do we so casually dismiss, disrespect, disregard and defile in our quotidien existence that which we have bedecked with gold and enshrined in a temple?


KALI

The most complex of goddesses. The familiar image is that of a blue-black creature on the rampage, eyes blazing, tongue grotesquely protruded, even more ferocious than the demons she slays.
Here she is young, beautiful, playful, full of mischief, emerging out of sumptuous foliage. And the sensation is one of overwhelming, all encompassing serenity - despite her garland of skulls.
For Kali is also Bhavatarini or Redeemer of the Universe. And she is Night – the moment before the creation of light. Beyond time. With no beginning or end. The essence of all being. She is Being itself.
A new artist - a woman, a new perspective, a dynamic medium and our fresh engagement with ancient knowledge. For Kali is ultimately the goddess of change and thence of continuity.


APARNA

Shiva, devastated after the violent death of his beloved wife Sati, retreats into a state of absolute renunciation. But Sati returns in the avatar of Parvati, the mother goddess herself. Her sole purpose is to reclaim Shiva. And so begins a tapas of such pure and powerful concentration that not even clothing nor food are allowed to break the flow of her communion with Shiva. The sages of the forest, awed, name her Aparna – without leaf, for not even a leaf has entered her mouth. Her tapas so powerful, brings Shiva out of his and compels him to gaze upon the beautiful revival of his wife.

Gradually darkening earth tones, the deep forest green and the black of Aparna’s hair make the stillness and quiet intensity of the forest palpable. But there is movement too – in the gentle fluidity of the freely flowing tendrils of hair that seem to merge with the lithe branches of the trees. There is the distinct sensation of an elemental force at work. 
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks - 1/10 + 2 artist prints



GRAMADEVI

A head sitting upright on the ground, under a tree, outside, at the edge of a village. Her eyes appear through a coat of vermillion. Her body, (underground we assume), is the village - with its houses, fields and pastures, and her fertility, keeping them abundant.
With no temple or priest, the goddess is only tended to by the women. A sisterhood that celebrates their mother every day. She is not universal, but local, she is specific and personal. She is yours and she is mine and she lives outside our village.
But once a year she comes undone, for her forests have been burnt, to sow again, her weeds uprooted and body fenced up and owned. Wild and hungry she demands blood, and the village rushes to ease, quenching her thirst she is made whole again. Feasts are cooked and sacrifices made to replenish her wildness. Gestures repeated year after year to make her strong and blossom. An apology for killing her forest, and gratitude, for the gift she has given. A process by which we rewild our mother year after year after year.
36” X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



POULOMI

In a cosmos of affluent Asuras and entitled Devas, Poulomi moves. Paying little attention to their eternal combat, she chooses. She is Lakshmi the goddess of wealth, and like wealth, she is more desired than enjoyed. Her attention moves as she gazes over our small lives, with our slight victories and failures, only too aware of how little would survive us. From the ground, she had once risen, but only noticed in the skies, when her dazzle was in full bloom. We were made to understand, that this is how she always was - linked with our every swollen and unsatisfied desire. But as Poulomi, she reminds us of an earlier time, when she was a child, growing into a woman in her home, underneath the earth, hidden in the early hymns of the Vedas. A long age of both innocence and awareness, when Asura meant a divine being, still uncoloured by a later moral turn their stories took, spinning them into simplistic caricatures of demons and villains. An age for Poulomi, fathered, not just by one, but three Asuras. Varuna – the ocean, Puloman – the earth and Bhrigu – the teacher. Sharing her heritage, with glorious asuras – Balli, Virochana, Prahalad.An age of innocence that changed as did she, only coming into herself as she moved away from home. Suddenly, capturing our attention, she arrived in the world of the gods. Astonishing the heavens with her glamour, she chose to sit beside a thrilled and bewildered Indra. Still, she remained restless and uncertain. Surly, she thought, the heavens must have someone more worthy of her. Sometimes she is seen as Nidhi – the goddess of treasures, sitting by Kubera, and King of the Yakshas (the nature spirits), making him the god of treasures. Poulomi changes lives on a whim, leaving a trail of uncertainty. Nervous gods and humans, unaware of whom she will favor next. Indra suffered in his insecurity, never able to truly enjoy her, eternally balanced on a shaky throne. She seemed to have appeared with no particular reason and now might leave just as mysteriously. Tormented by the knowledge that he was king and his kingdom was heaven because of her. Proving him right, her journey continued, till she finally and ultimately met Vishnu. The one God who could love, appreciate and revel in her and her choices, that made them the queen and king of heaven.
36” X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



KAMAKSHI

Without desire all of creation loses its fragrance and the god of desire himself was enchanting. In Kama’s hands the sugarcane bow and flowered arrows are merely mischievous. And he paid with his life for playing with these wonderful weapons of desire. When he took aim, their effects were limited to passion, a trap that one falls into. In Kamakshi’s hands, desire is expansive. A landscape to walk in, eyes wide open, a choice that feels like destiny. A desire for the world and the pleasure of being part of it.
In sunshine and starlight, laughter and pain it grows, changing how we feel, what we see and the taste of everything we touch. Red is no longer alarming and blood changes meaning. In Draupadi’s hands it is revenge, in Kali’s it is destruction, and in Kamakshi’s, it is life. We are not hunted but adored by the flowered archer. For some she is a fertile womb, a cleft in a rock that bleeds, marking the coming of monsoon. A season for desire, wisdom and experience - only a life well lived can know.
36” X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



USHA

Dawn
Her name appears three hundred times, there are twenty hymns in her praise - the most written for any god or goddess in the Rig Veda, and apparently the most beautiful. She is not worshiped or celebrated, but she is sung for. Like the other early gods of her time, she is made of words, and the ones that created her are said to be the oldest. Finding form in poetry, Usha the new dawn floods the mind, as she looks into every opening eye, every morning. She is consciousness. And immediately dazzled, we blink – the first sign of a mortal. For Usha and her fellow immortals don’t. We are enticed out of slumber and into another day, as she passes an invisible line of time through us, counting our numbered mornings.
Brushing past and passing quickly, young and audacious, she takes many lovers. An adored bright beacon drawn by a thousand horses, in every shade of twilight, she remains the most desired and notoriously impossible to keep. To know her is to know abandonment, for she always rides past us, towards her sisters – Sandya and Ratri – evening and night. A goddess eternally connected to the future and the past. Eternally connected to her sisters. A bond made of time, so special it holds all of reality within it, and still, it holds them apart.
She is both, ‘to awaken’ and ‘the awakening’. Not just to enter consciences and make our way through time, but also the illumination that releases us from it. Moksha, vimoksha, vimikti, mukti – she is enlightenment. Bound by time and still timeless, she has looked at mortals, with the same unblinking eyes through eons. A gaze that talks of the existence of evil and the survival of hope, as she listens to our songs, sung to arouse her, so that she might revive us.
36”X 27.25”  K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks - 1 /10 + 2 artist prints



SHIVA

Gentle and limpid, like a rivers’ flow, this languid female form is none other than the most masculine of gods: Siva, appearing here as gopika or divine milk maid, ready to take part in Krishnas’ famed raas lila.
As always the myths beguile – seemingly simple tales are prismic gateways to a wonderland of symbolism.
The sublime strains of Krishnas’ flute stir Siva into joining the raas lila or dance that Krishna, the god of love, enjoys with his bevy of gopis in Vrindavan. As no male can enter Vrindavan, Siva dips himself into the waters of the Yamuna and emerges a beautiful maiden and the two gods dance. Radha points out a subtle otherness in the atmosphere and is told by Krishna who the new dancer is – “He is Lord Siva,”says Krishna, “my teacher. You wouldn’t want me to ask him to leave, would you?” In another variation, Kali has the urge to dance with the gopikas. Taking the form of Krishna, a fellow dark god, she has a wonderful time with the gopis. Siva, missing his consort, enters Vrindavan as Radha and dances with her.
What a wonderful world. A world of variation and abundance - for that is what Vrindavan means – a fluid, flowing world where gods slip in and out of different sexual forms, dance, love, celebrate pleasure, enjoy beauty. The gopis - no ordinary beings, are milk maids – nature herself, provider of the milk of life and Vrindavan – where all things exist is perceivable only to those free of familial ties, of outlandish moral constructs, of self – for only they are unburdened enough to live life in its fullness and multitude, and light enough to dance to its rhythms. Here Siva the Nataraj, the supreme dancer who dances the cosmos into existence and destruction dances or plays for that is what lila means - with the god of love and the cosmos is animated into being.
36”X 25”  K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



MATANGI

How clean the goddess of pollution looks. The origins of this goddess and what she stands for, was at a time, recognized for traveling far beyond the shackles of the cast system and was not reduced to the pollution identity. Everything about this rendition speaks of purity – the simplicity of the stance, the youthful innocence, the honest, open gaze, even the light ornamentation of the crescent moon.
Through penance to the goddess Ambaal, anavatar of Lakshmi, the “low caste” sage, Matang, seeks elevation to Brahma Rishi. When the boon cannot be granted he asks instead that he be recognized as Ambaal’s father. Ambaal is reborn to Matang as a primal form of Saraswati: the goddess Matangi. She who kindles knowledge born of contemplation, inner and organic. Mata or thought is shaped by Matangi into words and this articulation includes every form of art, music and dance. She also refers to our ability to listen, the origin of true understanding. Matangi is accessible to all as no vows or ceremony are needed to ask for her blessing. She welcomes offerings of leftovers by unwashed hands. Caste thus becomes irrelevant to the seeker of enlightenment.
Matangi’s so called filth represents freedom - from the sanitized gated community of Brahminical patriarchy.
Its walls of orthodoxy built with caste prejudices and notions of clean and unclean. But life cannot thrive in a sterile environment. And Matangi ushers us out. Offering us instead the throb of life. In her open landscape there is darkness – and it provides the contrast we need to fully appreciate and celebrate radiance.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks  - 1/5 + 2 artist prints



SITA

We begin to comprehend Sita at the end. Throughout the Ramayana Sita is the epitome of the devoted wife - Rama’s faithful, unquestioning consort. Without reference to Rama who Sita is in her own right is not immediately apparent. She is, of course, the daughter of King Janaka. But then we also learn she is adopted. Even her endless virtues refer to her relationship with Rama – her devotion to and patience with him. But in a thrilling denouement who and what she is becomes terrifyingly clear to all, especially to Rama, when after he demands a second trial by fire to prove her chastity, the obedient, silently suffering wife vanishes. Sita, the goddess, takes her place, was always there, but never comprehended. She is the daughter of the pagan earth goddess, Bhumi. She is the daughter of this land. And here she is depicted in her moment of truth, calling upon her mother to open her arms and swallow her, taking her back into her womb to return to her essence. What becomes clearer still is that Sita’s devotion, faith, loyalty, undying patience, strength of will were not mere abstractions, practiced by a woman exemplifying the dictates of tradition, but the gifts she gave.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
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SARASWATI

Sara – knowledge, sva – self. Thus knowledge of the self. With an insouciant look, head provocatively tilted, this Saraswati emerges from a sea of Lillies and flirtatiously invites us to drop the gravitas we attach to knowledge and consider it at its most elemental form. Thus unburdened of the serious business of living we can take on the exciting avatars of adventurers, exploring that most exciting of terrains: the self. Freed of preconceived notions. This is a liberating and joyful Saraswati who celebrates life through knowledge. Her engaging youth mirrors that of the person who continues to be entranced by truths that continuously reveal themselves as life unfolds.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks  -1/5 + 2 artist prints
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SISTER MISFORTUNE             
Medium : K3 pigment print on Hahnemuhle Etching archival paper
Limited Edition Digital Artworks 
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PRAKRITI

The animals show us where she is, by simply being who they are – the tame are in the world of men, the wild are with the Goddess. Through their eyes, she regards us from a distance, and instantly we know – she is Prakriti. Nature is feminine and she is the Primal One - unwitnessed nature and unperceived reality and here we come upon a part of creation, not destined for everyone. In that stillness we feel the loneliness of our species. But in her gaze we are rescued - and seen as part of all creation.
36” X 27” , K3 Pigment Print on Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



LAKSHMI & ALAKSHMI

Where is the light that radiates from Lakshmi that immediately uplifts the beholder? We are plunged into the ocean’s depths in this dark composition where Lakshmi appears comfortingly familiar on her lotus. But what lies on the other side is her disturbing other: Alakshmi. One does not exist without the other. Lakshmi is light itself - in her riches both material and spiritual abound: fortune, fertility, generosity, beauty, grace, charm. But the idea that one can attain them just by recognizing their value is glib and naïve. Alakshmi, her twin and opposite force – she who is appeased with gifts of lime and chillies so that she keeps her distance reminds us that the path to enlightenment is not a straightforward one. To truly understand that one does not come with out the other.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks - 1/10 + 2 artist prints



GANGA

The blue eye shadow and the pearl set jewelry, the effervescent starburst that ornaments a flamboyant moon that keeps her in Shiva hair all come together to celebrate this pagan goddess and her easy and unfathomable force. A sea green crocodile, she has drained of any ferocity with its limpid eyes and fluid lines, flows seamlessly with the gorgeous blue tones. Once more, the art of Smruthi Gargi Eswar is an effortless combination of laid back fun, the occasional, very contagious inappropriate laughter and an inescapable underlying intellectual depth. Ganga is captured at her most revelatory moment: caught and coiled in Shiva’s hair – who we do not see – for he alone can contain her such is her might. Nature - unbridled, untamed, unpredictable, rejuvenating and destructive all at the same time is as compelling to behold as it has ever been except here is the sense of a rebirth – our very own - for the refreshing lightness of touch frees us to celebrate the hoopla of life and liberates us from fear.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks -- 1/10 + 2 artist prints


RAJESHWARI

Not just a virgin mother, but an independent one. A kumari matha.
Mythology is filled with attempts made by male devas and assuras who tried to capture her. Dying or suffering consequences, they learnt, that nature will not be ruled by culture and the attempt, would lead to life lessons wrapped up in punishments. The mother goddess of all creation, she who holds the whip and the sugarcane. Punishment and Reward.
Arranging rivers, along the valleys, she watched us take our first steps into her world, where everything had arrived before us. She regarded us from a distance, through the eyes of animals, (all wild at the time), as she held in her womb, the three Gods who were to come. Brahma the god of creation, Vishnu the god of protection and Shiva the god of destruction - the son most protective of her.
In a world where volcanoes turn fire into stone, she taught us how to control it. Now, she is present in every temple – the Garbhagriha , the womb chamber, in which - sits the idol. Sometimes, even giving birth to herself. In the forest and the sea, in every seed and flower, the goddess of creation weaves life into a complex fabric. She is (Prakriti), and the mother of all nature and culture
An old goddess, from an old world, before life as we know it. She held the sun, and the moon, as he lured the ocean into an eternal tidal dance. There was no need to find reason, or enlightenment, inspiration or joy. The bare fact of being, was enough in itself. She belongs to a world before us. A world before the Gods.
36” X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/5 + 2 artist prints



TARA

We leap into life, hoping to find the world, as she holds our hands, and helps us find ourselves. She is the Northern Star – a goddess for travelers, a leader for caravans in the literal. In the metaphorical, she navigates us through an ocean of existence. She warms our heart through the friends we make and fuels our courage to take unknown paths. A traveler between faiths, from Hinduism to Buddhism or the other way around, she crosses borders of every kind. We watch her light, traveling through diverse lands and various lives, as we hold on to a river of voices, with numerous stories of her origin. In one, she is born out of Kali’s third eye, a goddess for justice, in another she comes from a bodhisatva’s teardrop – so filled with pain, it created a goddess of empathy and compassion. In the white snows of Tibet, she is reborn as a princess from the vastness of China, and still another from the mountains of Nepal. She appears and reappears, always with the perfected wisdom to guide, and to eventually, be the mother of all Buddhas.
36” X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



UMA

A goddess with many names and many lives  – Parvati, Gauri, Shakti, but it’s Uma who holds the mirror, changing how we view ourselves and the universe we live in. She is the creator of a new world order, where culture is born out of empathy. A distinctly feminine vision, in which our spirit is found in her matter, our soul in her substance. Even as we observe we realize that she is the observation. While awkwardly, we tussle with values, constantly making and breaking them, she is natural phenomenon.
Uma brings an air of expectancy, a preparation for a family as she arrives at her husband’s icy cave in the mountains. The hermit god Shiva, has known nothing else. – they make love for a thousand years, thinking of nothing but pleasure as she thaws the walls of his glacier and releases Shiva’s tapas into the world – rivers into the plains and life into the dry soil. Their home on the impossible peaks of Kalilash, her presence warming its core for she is also a daughter of the mountains. Their children will be either hers or his, and not the fruit of their union, but that, is another story. A love beyond the narrow understanding of procreation and family. As Kali she had danced on Shiva’s chest, but as Uma she sits beside him and on him when they make love. Ice and fire giving way to life and a unique shared vision of all creation.
36” X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



SARASWATI

The oldest hymns were composed on her banks, a glorious beauty with her lilies and swans flowing through Punjab, Sindh and Rajasthan. A river of language, imagination and music she is Shatarupa – the goddess of infinite forms. All addressing the conception of creation – the one question –
Who am I?
In taking that step, from being wakeful to understanding, her unblinking eyes gather as her mind absorbs. For she, is the goddess, of all that is known and understood. She is knowledge.
Immersed in music and texts, she remains aloof, claiming the sovereignty of the mind over every other reality. Watching syllable by syllable appear she witnesses the construction of knowledge.
Despite all efforts to pair her with one god or the other, she remained distant. Interested in wisdom alone, calm and content in isolation, her journey was a solitary one. Her stories are sparse, In the pantheon of gods, who display power, looking for lovers, partners, wealth, or even for power itself, she stayed detached. A unique manifestation in which she needs little else but herself.
Although, as a river – she shatters the separation between Purusha and Prakriti, mind and matter, body and soul, and the strange belief that nothing in nature leads to the mind. Her state of being and the secrets she holds - keeps us from being paralyzed by wisdom. Despite all that is known, our world (once, with her river in it), pursues its course.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks - 1/10 + 2 artist prints



KALI

The most complex of goddesses. The familiar image is that of a blue-black creature on the rampage, eyes blazing, tongue grotesquely protruded, even more ferocious than the demons she slays.
Here she is young, beautiful, playful, full of mischief, emerging out of sumptuous foliage. And the sensation is one of overwhelming, all encompassing serenity - despite her garland of skulls.
For Kali is also Bhavatarini or Redeemer of the Universe. And she is Night – the moment before the creation of light. Beyond time. With no beginning or end. The essence of all being. She is Being itself.
What is delightful about this piece is that it embodies the concept of Kali. A new artist - a woman, a new perspective, a dynamic medium and our fresh engagement with ancient knowledge. For Kali is ultimately the goddess of change and thence of continuity.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks- 1/10 + 2 artist prints



RADHA

With muted tones, controlled shading and the blotting out of any light the artist wants us to appreciate the implicit: the power of love. We are to engage with the goddess with comprehension, and joy. And the concept of the Whole is put before us at all times. So here is Radha, childhood friend and lover of Krishna, in a fuller form as Earth Mother – slightly paunchy, full breasted, a milky cow by her side. It is a voluptuous image, inherently and powerfully erotic. The faint outline of a peacock feather is the only sign of Krishna. But the focus is Radha. Radha is woman in her entirety – lover, friend, sister, daughter, mother. She is also a wife but not Krishna’s. The power and purity of her love is such that it transcends both social requirements and human frailties such as marriage or jealousy. Radha is complete unto herself. And the love that radiates from her is equally complete. It is, in fact, a celebration – in this case, of Krishna, asking nothing from him, not marriage nor fidelity. It is love that is spiritually and physically full: unconditional,eternal and liberating.
36” X 31” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks - 1/10 + 2 artist prints



SHAKTI

Shakti is power in its most elemental form. She is the female force that powers and animates the male. If Brahma is creator of the universe, Durga is the manifestation of his creative energy. Shakti is the source of the strength of the gods. The new world of male gods not being able to hold the force of her pagan strength, divided her into three. To Vishnu she comes as Lakshmi, to Shiva as Parvati and to Brahma as Saraswati.
Yet here she is, relaxed and languorous, playing with her weapons as if they were instruments. It is a lyrical, balmy composition, lush with feminine details. The artist wants to remind us that it is, indeed, in this soft, unassuming form that such potent power is to be found. We are reminded that soft is not weak. The only visual cue expressing potency is the colour red – a character by itself in this series. It is the colour of menstrual blood, of life itself. Without this feminine life giving force the gods are impotent. Thus one of the most potent and fundamental symbols of Hindu philosophy – the Shiva Lingam – male and female sexual energy joined – the source of all life.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks - 6/10 + 2 artist prints



PARVATI

Everything in this piece speaks of oneness. Parvati with Ganesha, the two of them with their surroundings. Each flows into the other, merges with the other. The line of Parvati’s body seems to suggest a hilly terrain, the earth tones and deep green of her sari the land itself. The theme of the mother goddess is very powerful here: the idea of the feminine force being the fountainhead of all life. Ganesha has no father – he is entirely Parvati’s creation and seems to flow from her being. Mother and child are seen here sharing a moment of complete consonance. Red is a recurring motif in this series – the colour of fire and of blood. The colour of the life force.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper Limited Edition Exclusive Digital Artworks
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DURGA

A concentrated Zen like power emanates from this stunning Durga. She seems to arise out of fire, carries it with her, her lion’s orange mane mimics licking flames. Ice cold blue cuts through the burning red to create a sense of steely focus. The forward thrust of the forms with their sleek muscularity, the scimitar held over the shoulder complete this image of an unstoppable force. Durga is the quintessential warrior maiden.

This pose – Durga on her lion or the Abhay Mudra is the expression of the freedom from fear. Riding the lion symbolizes mastery over the ego.
Durga is the supreme mother goddess, a manifestation of the power of the supreme being - the united power of all the gods. Determination and will drive her to triumph over anything that comes in the way of pure knowledge and wisdom.
36”X 27” K3 Pigment Print on Hahnemuhle Etching Archival Paper
Limited Edition Exclusive Digital Artworks  -1/7 + 2 artist prints
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