About The Artist
Tarlochan Oberoi was born in 1951 and grew up in India. He graduated with an M.F.A. from Delhi College of Art. Since 1972, he has lived in Denmark and received several diplomas from Danish graphics art academies. He has thus had the opportunity to combine Indian and Danish cultures. The result can be found in his paintings and writings. The art can stand alone and the words can stand alone. However, the two forms of expression combine to enhance and intensify overall impressions and insights.
Oberoi captures new approaches and new visions in his paintings. His art can be found in several the books. In his paintings, opposites are recognized and appear in an aesthetic form. Art opens up in them an opportunity for reflection, pondering, insight, consideration, meditation, experience, and letting go. Oberoi’s paintings are the result of intense observation - he endeavors to render both the visible and invisible worlds.
Oberoi’s poetry serves the same greater purpose as the paintings.
As Keshav Malik writes, “Artists like this, then, provide not only sensuous pleasure by their words and images, but they also make us more reflective, so that both gravity and grace are ours. His verses transcend the intellect and call the reader to the type of self-reflection which we tend to associate with visual art.
We experience it with our senses, but it touches upon something which goes far deeper than sensory activity – it stirs up the soul, so to speak.”
Further, Malik adds, “The truths pin-pointed are keen, so much so as to prick the reader’s consciousness awake.” This is also the case for Oberoi’s various collaborations with several Danish and Indian poets and art critics.
Oberoi has presented over one hundred solo and group exhibitions at various international galleries and institutions. Today his artwork is found in private homes, institutions, businesses, and art museums. He has traveled extensively on four continents, been active in the American, European, and Indian art scenes, and has acted as Art Director and Graphic Designer for several eminent concerns, which thus bear his artistic signature. Since 2004, he has been exploring the U.S. and exhibiting his work across the country.
Memories of a Lost Paradise
It is the gift of true art, whether the greatest or the relatively minor, to give us not an artist's individual vision, but to open our own. Such works always seem wonderfully simple, like the memory of a lost paradise. The clever, the experimental, and the didactic lack this quality, which is an insight of imagination. Tarlochan Oberoi's flower paintings appear to have a gentle, feminine truth, but for that reason, are not limited. Through them he speaks to others even while speaking to himself.
This painter is a committed artist, for whom each day seems to shed its light on a new theme for a painting. The ever-changing light of the seasons, the flowers, the sea, the sky, etc. — all of these give him the impulse to catch the ever-fleeting present.
The briefness of life not only challenges him to live fully, but also motivates a striving for eternity through the craft of the creative imagination. Every painting is such an irrecapturable moment of life, a reliving of the first moment of creation. A bunch of flowers provides a focus for a complex feeling - a theme made up of many elements.
Unlike many of us today, Oberoi's mentality is not characterized by any reckless urge to be independent of nature. After all, is it not nature that gave us our first whiff of warm breath? Is it not nature that handed us our pulse-beat, our will, and that sweet dream called art, so that we sail safely through the vast ocean of life? Here is a humanized nature, a relationship not merely his own, but of all those lives that have grown and have come together to create a here and now, where a few casual flowers in a glass tell of the flow of life, in some room which is a real place. The flowers have the look of flowers that are actually looked at. They have a story of their own to tell, a fairy-tale perhaps.
The painter may be thought a dreamer of worlds too good to be true. But is not the vision of beatitude the norm? The reality we all wish were so, that in certain moments we have entered unawares, and with a sense of familiarity, of homecoming? For paradise is not a lost illusion, but should have been — once was — could be again, a place where we are to see the world 'aright'.
Of course these are fragile moments, but to be valued as glimpses of what is more, not less real than our anxious, mundane vision. They are a source of light, which – like love – touches the deeper chords in us. The purpose of these charming works is to remind us of that ignored reality. This painter sees no reason to paint the horrors of contemporary life, and therefore his paintings are healing. His work is like a balm for both the outer and the inner eye.
The artist is technically professional with colour, and he has a deep understanding of colour as a language in which nature communicates meanings and values. Flowers for him are not solid objects –- coloured, but in the most literal sense, made of light. Oberoi's eye is selective with a sense of what to keep and what to omit. Here, then, are paintings — and a painter — of feeling, whose strength, depth, and generosity is the measure of the fullness of his intact humanity.
-Keshav Malik Art Critic, Times of India
Review of Portraits
Paint flowing onto paper delves deep into Oberoi's visual poet of portraiture perfection captures personalities
John Busbee Art Scene Magazine, USA
Tarlochan Oberoi expands his talents beyond the application of paint to paper – well beyond. A Renaissance man of immense talents, he blends them together in a re-discovered passion: portraiture. Patrons around the world can celebrate this passion, as he captures more on paper than just the physical. He captures the internal spark of his subject, leaving the viewer with a better understanding of the person whose image they’re viewing.
“I believe every person has a story to tell, “explains Oberoi,” and I attempt to capture that story with every portrait I paint.” This philosophy is successful, as each of his latest series of portraits provide intimate glimpses into the essence of each person. Oberoi gains an understanding of each subject before beginning a portrait, translating his understanding of that person onto his paper or canvas.
Identity is important to Oberoi, and his work exemplifies the major difference between painting still lifes and portraits. His internationally acclaimed floral paintings contain an inner glow and energy that wells up from the painting to fill the viewer’s mind with a deeper and greater understanding of that image. And, as with these floral paintings, Oberoi’s portraits achieve deeper and more complex images of each person painted.
Instinctively relying on his skills as a published poet, Oberoi distills his study for each portrait into a single image. This delves much deeper than “a picture is worth a thousand words.” Just as a poet succeeds by minimizing his language, Oberoi creates a visual poem for each of his subjects. At the first level, this visual poem captures the physical likeness. He then nurtures the image to higher levels of imagery, imbuing each painting with an inner life force that reaches out to the viewer. He wraps each painting in layers of understanding, giving the image a special personality to be shared.
To view a series of Oberoi’s portraits is to be introduced to each person. With a respectful intimacy, each image blends personality, inner-self and a transcendence of that person’s complex being through the image presented. Oberoi becomes the gracious host who introduces you to each of his subjects, giving a warm understanding of who that person is.
Therein lies the beauty of Oberoi’s portrait work. Each work contains its own unique spark of inner understanding, forming an insightful bond between the beholder and the image. Each image elicits an “Ahh!” or a smile of familiarity – the viewer has gained a deeper sense of comprehension about whom they are seeing, and something about their personality. His images are layered in imagery and inner-complexities, offering so much more than a photograph could ever create.
To view that same subject in several images over a period of time is to witness a chronology as that person evolves. Oberoi understands that when “we come into this world, we are empty vessels. Time fills our vessels with experience, thus our experiences become our biography, and our biography becomes our identity.” When working on a portrait, Oberoi forms a partnership with that person. The process becomes the focus, as he gains deeper knowledge of that person, which expands the scope of the portrait. In reality, each portrait is a by-product of this process. Oh, but what a by-product! To gain a level of reality that mystically wavers between the meticulously crafted paint strokes and the implied being of that person is to reach to the core of who that person is at that time. This creates an “Aha!” moment, when a visual and emotional revelation is achieved. For the person being painted, it is a softly humbling experience to have been so thoughtfully and carefully shared in this creative journey. The results are moving, and an exclusive and unique moment in a much grander, universal perspective.
Oberoi separates his portrait work from that of others through a process that reaches far beyond mere physical representation. He helps the viewer connect to the essence and positive soul of the subject. Each portrait becomes a personal, shared journey that gives that person a special insight into themselves as seen through the compassionate and talented viewpoint of Oberoi – a Renaissance visual poet of portraitur
PUBLICATIONS ABOUT THE ARTIST
Complete list of books and planned publications:
Expanding Universe, T. Oberoi (2023-24)
Vibrant Depth, T. Oberoi (2023-24)
Vibrant Seeds, T. Oberoi (2023-24)
The Way of the Clouds, Oberoi & Keshav Malik (2023-24)
The Way of the Flower, T. Oberoi (2020)
Unfolding Blossoms, T. Oberoi (2020)
Seasons, T. Oberoi (2020)
The Art of Insight, text Teddy Brunius, paintings by Oberoi (1998)
Symbols Behind the Eye, text by Virtus Schade, paintings by Oberoi (1980)
Observision, Verse and Vision, T. Oberoi (2020)
Visionary Art, text by various art critics, paintings by T. Oberoi (1986)
Shadows, text by Prabhjot Kaur, paintings by T. Oberoi. (1985)
Symbols Behind the Eye, text by Virtus Schade, paintings by T. Oberoi (1980)
Optical Effects, T. Oberoi (1977)
“Oberoi - The Art of Insight” by Teddy Brunius
“The intense colour richness and the rhythmic shapes create an inclination to absorb and let go. Overall combinations have been sought which create light on the retina. At one moment, light seems to come from behind the painting, in the next moment, from in front. Suddenly perspective changes and background becomes foreground - the straight seems to curve. What you first believed to see changes right in front of you. Suddenly everything stands still, soon everything moves. Now you know where you are, now you are uplifted into space. From West to East - or vice versa. It is thus that Oberoi seeks to create a space, open to experience.”
1998, English/Danish, 64 pages, 46 colour & 40 b/w images, very few copies left.
“Shadows” by Oberoi & Prabhjot Kaur
Oberoi expresses himself sensitively with his brush. This inspired Prabhjot Kaur to speak the language of the poets with her pen. 22 color reproductions of the Dane with the Indian background, and 22 poems by the Indian who is just as famous in her home country as Tove Ditlevsen is in hers. Two poles, two art languages, distant in many ways, yet so close to each other in many more ways. Light and shadow, pleasure and pain. Man´s search for identification, stillness and motion, security and insecurity.
December 26th. 1986: the President of India Giani Zial Singh in his house receiving the book,”Shadow,” with paintings by Tarlochan Oberoi and poems by P. Kaur. Dr. Kaj Baagøe, the Danish Ambassador to India, and the poet were also present.
1985, English/Danish, 62 pages, in colour, very few copies left.
“Symbols Behind the Eye” by Virtus Schade
” The eye sees all. The artist sees things behind things. Lines that seem to vibrate to our eye (that is: behind our eye). The painting emerges from its opposites. Were the white lines not present, the black lines could not be seen. And vice versa. The negative emerges from the positive. And vice versa. Quite like eternity emerges from limitation.”
In such prose and poems, Virtus Schade describes Oberoi´s paintings.
1980, English/Danish, very few copies left.
“OpArt & Oberoi” by Virtus Schade
” To see the world, to integrate the world. The artist stands in the midst of exploding space. The ever existing opposites, black and white. It is like transfixing butterflies on pins and at the same time maintaining their beauty, freedom, and flight. The eye is lured as if in a labyrinth, and when we no longer know where we are, we must find our way.” Virtus Schade describes in prose and poems Oberoi´s paintings and life.
1979, English/Danish, very few copies left.
PUBLICATIONS BY THE ARTIST
“Vibrant Seeds The Seed Within the Core” by Oberoi
Vibrant Seeds is a collection of ninety-four poems by T. Oberoi, best known for his visual art, together with color prints of a few dozen of his most recent 'amalgam paintings.' Keshav Malik (former Art Critic for the Times of India) writes, "I believe that the seeker in Tarlochan Oberoi actualizes a rare order of awareness in his verses; a whole inner universe is reflected in his words, from page to page. The poet in him is all praise, obsessed with the symbol of the heart's ascent. His words are charged with an unusual, confiding intimacy, as well as a firmly expressed intensity." So whether you arrived at this volume from a previous knowledge of Oberoi's artwork and are now discovering his poetry, or whether you arrived at it via a poetic route and are now discovering his artwork - in either case - it is hoped that Vibrant Seeds will be a revelation for you...
English, 83 pages, , available by request in a pdf or book.
“Unfolding Blossoms” by Oberoi
Is it the spirit that guides the hand, or the hand that takes the lead, second-guessing the spirit and showing it the way?
"There is nothing quite like the effect of sunlight dancing through flower petals to get the painting juices flowing."
"I feel blissful when I walk through a field covered with hundreds of daisies, some growing in the sun while others are swaying and dancing to the beat of the wind."
"Sometimes I am especially taken with the feeling of delicacy and the wonderful color changes within each petal. It reminds me of the fragility of life and I wish to honor that through my art."
"I am a romantic. I can't help myself. I fall in love with flowers completely and with abandon."
"I like to paint, to express without elaboration, these flowers. Twists and bends can't be avoided. That is why, sometimes I feel contented and other times unfulfilled."
2021, English, 117 pages, available by request in a pdf or book.
“The White Lotus” by Oberoi
What is eternally above and beyond observations of the heart? 96 philosophical poems about man´s relation to himself and to others. A poetic, artistic, and rhythmic pondering over man´s interaction with nature and the universal. Observations on life´s daily happenings put in perspective. A fresh light, which creates correlation, unity, and sense.
1998, English/Danish, 128 pages, 41 b/w images, A5, very few copies left.
“Visionary Art” by Oberoi
Oberoi´s Visionary Art is about concealed images. Just think about artists like Vasarely and Magritte, each of whom respectively use the optical effect and the idea to create non-existing dimensions. In this way, Oberoi´s space, structure, and form create a vision - a viewpoint - which gives space to meditation, consideration, and awareness.
1986, English, 82 pages, 21 color & 15 b/w images, A4, very few copies left.
“Optical Effects” by Oberoi
“Op-art does not refute the traditional techniques, but adds new insights. New means of expression are at disposal – the accurate, hard-edged line. The op-artist regards subject matter as a new exploratory area. The perceptual symbols of the mind are his new themes. Geometric shapes must be completely abstract in order to serve the perceptual purpose.”
1977, English/Danish, 112 pages, 90 b/w images, 104x146 mm., very few copies left.
“The Way Of The Flower” by Oberoi
Few of the present day contemporary painters of Indian origin are articulate in words, no matter how proficient they may be in working out images and composing colors. As and when one comes across an exception one is surprised and exhilarated. T. Oberoi is one of those. There is clear proof of this in The Way of the Flower, for here we are face to face with full articulation of living experience from the core of the self. The words complement Oberoi's paintings, and are not merely interpretations of them. The man behind the artist thinks, completely involved with the life of these senses, the mind and the heart, in order that there are moments of uplift, beauty, and revelation. Such deep probing of experience brings us moments of insight into a soul in process formulating the subtleties, paradoxes, and harmonies in the art of living, as result in the created artefact. There is much intellect here, but the artist instinctively knows that human character ought not abdicate to the dictates of the intellect alone, that the operations of the intellect are wholly inconclusive when they are not deeply caught up in, when they are not deeply involved with the revolutions of the heart - that organ of compassion and humanity. Here, then, is rhythmic, felt-on-the-pulse knowledge, and for which reason the work makes moving reading. A work deceptively the personal notes of a painter, in fact it is entirely universal.
Keshav Malik, Art Critic and Author, Times of India, editor of the National Academy of Letters' bi-monthly Indian Literature. He published eighteen volumes of verse, and was active for many years on the Indian art scene. He passed away in 2014.
The Way of the Flower 9
2021, English, 127 pages, available by request in a pdf or book.
“The Expanding Universe” by Oberoi
“How delightful it is to come across a fresh, lucid voice that has in it the ozonous breath of authentically lived experience… The very title of [Oberoi’s] volume of meditative poems is indicative of his secret being, as much as the quality of his elevating feelings... There is indeed a fine tenderness in his considered response to whatever cloud of experience passes before the screen of his inner eye… The conjured up sights and sounds which the poet records here are not a mere succession of poor, soulless, mechanical incidents, but rather a kind of living, spontaneous, articulate language, evoking the sweetest of feelings within the well-strung heart…Here is a natural poetic insight suffused with such refined and refining emotion which in turn melodiously expresses fascinating aspects of a higher personalized consciousness. The poet makes us participate in them all gently, in order that we become one with him in his wide reflections, as well as in his underlying detached joys and sorrows…To evoke the sleeping beauty, the music and vision of a stranger’s soul; to make every reader poetically perceptive, every onlooker an artist, every listener eloquent and tuneful; so that he or she is ready to acquire a seeing eye, a hearing ear, and the broad understandings of the heart: the poet does his best to discharge these self-imposed tasks…”
Keshav Malik-Padma Shri (award from the President of India),Art Critic, Times of India, New Delhi
2021, English, 127 pages, available by request in a pdf or book.
“The Vibrant Depths” by Oberoi
This book gives an idea of Tarlochan Oberoi’s work since 1970. In the first section, you can find his most recent amalgam paintings. In his own words, “This artform arises from an intuitive place inside me which is beyond control or anticipation. It is like life itself, mysterious and breathtaking, and I don’t know what the next moment will bring.” The second section covers his flower period from circa 1996 to 2016. As Keshav Malik writes a, “These are fragile moments, but to be valued as glimpses of what is more, not less real than our anxious, mundane vision. They are a source of light, which – like love – touches the deeper chords in us.” The third section features Oberoi’s ‘Op-Art’ period from 1970 to 1995. In the words of Virtus Schade, “Oberoi may catch the sound before it becomes sound; the picture before it become a picture; eternity before it becomes eternity.” 1977,
English, 73 pages, , available by request in a pdf or book.
“Seasons Momentary Glimpses” by Oberoi
In our attempt to harmonize with nature, we have to deal with our nature. It is essential to admire that which nature has given us without our asking. I find deep admiration in the fragile flowers that nature has to offer us. The shifting light and the delicate form of a flower play important roles in my paintings. I always look forward to draw or paint that which carries the expression of human warmth, an expression which should be part of all of us.
Existence itself is a continuous change. Nothing can be held in our hands for long. He who accepts this achieves calmness. Disturbance arises when we expect one thing and receive another. The more alert and attentive we are, the more surprises we meet. Life is like a racing stream, which is never stagnant, but is constantly in motion.
2021, English, 73 pages, available by request in a pdf or book.
Chronology
Painting is not the aim of my search, but a by-product. As a child, “talent” was what I focused on. I unearthed a forgotten language by using painting to express my innocence. This sense of spontaneity and playfulness became the cornerstone of my work. As Keshav Malik, Art Critic for the Times of India, once said about my painting, “Such works always seem wonderfully simple, like the memory of a lost paradise.”
For me, the joy doesn’t lie in completing the work. It lies in my passion to create it, which is so totally consuming that it makes me forget everything else. The joy becomes the sole focus of my entire being. I am not rewarded by the completion of the work, for permanence is an illusion. The joy of creation is my reward. In life’s changing flux of existence, I find that each moment is its own reward. It seems to me that creativity gives us the strength to be authentic, and to look inside ourselves. If you witness and welcome the ongoing change in my work, you will hopefully start to remember something precious inside of you.
PART I - 1971-1990 The painting of Seeing the Vastness / The Whole
I discovered the connection between space, structure, time, and creative expression, by returning to the innocence and curiosity of childhood. I learned the fundamental laws of nature, and thus arrived at abstract painting.
“At one moment, light seems to come from behind the painting; the next moment, from in front. Suddenly perspective changes and background becomes foreground; the straight seems to curve. What you first believed you saw changes right in front of you. Suddenly everything stands still, soon everything moves. Now you know where you are, now you are uplifted into space. From West to East – or vice versa.” – Teddy Brunius.
PART II - 1991-1997 The painting of Seeing the Minute / The Part
Getting closer implies an obligation. You become a concerned participant. You discover details, and see things up close. The concrete becomes abstract. As you get closer you must concentrate, delimit, choose, take a position, and then commit yourself. Suddenly you halt, contemplate, and focus clearly. Curiosity takes hold, and thoughts occur. You say to yourself, “Why am I stopping here? What do I see? What do I recognize?”
When I try to dive into the mystery of nature, I participate with all of my energy. It is this collected state of being which gives rise to my authentic expression. The gist of nature is freedom and ongoing wonder. Every flower grows in an utterly unique way, constantly changing.
PART III - 1998-2009 The Painting of the Non-dual
Much of my artwork is born when I listen to myself and feel a vibrating energy. For me, it is pure magic and vision. Every vibration has its own creative energy, and is its own painting. Only intentions matter to me. The shape a painting takes is not within my power – only my motives. I don’t attempt to paint a perfect expression of an imperfect subject, but an imperfect expression of the perfection within the subject. Time can’t take us out of time, and space can’t take us out of space.
Absolute perfection is here and now, not in the future. The basis of my painting is that I paint in the here and now. Disregard whatever preconceived notions regarding shapes or forms your mind fixates on. The canvas is like myself; after I am done projecting my image, I will be in a state like the one I was in before my birth. Eventually the canvas too will once again be empty. All remains the same as when it started. When the sun shines, colors appear. When the sun sets, they disappear. Where are the colors without the light?
I ask you to relax and contemplate a timeless harmony, a pleasant memory, like one brought forth by the play of a child. Let the indescribable play of colors between movement and silence touch you. Feel the mystery of spontaneity and self-discovery which is called ‘art.’
PART IV - 2010-2018 Miscellaneous
My most recent paintings reflect the medium of soft pastels. There is a kindred spirit I feel with this medium that I get from nowhere else, and the fine particle of pigments on the tips of my fingers feels as if I were painting with the rock itself.
It is surprising how blooms in the cracks of the solid Rockies find new possibilities to grow and seek life. As it is amazing how craftily the softness of soaking water leaves behind colorful signatures on the rigid surface. Search for the deeper meaning inherent in our everyday experiences and see cracks in our life as a blueprint for growth and inner evolution.
Naked Beauty is the portrayal of the unclothed human form as a work of art. Often classified as a genre of art, the ‘nude’ is a symbol of the ideals of male and female beauty, and expresses the basic and complex emotions associated with humans as they are. They are also timeless in that they are free from frames of time and space. “Art can never be explained without a naked beauty displayed.” - William Blake.
In the mountains and other special places, I sometimes experience a ‘magical’ moment with nature when the combination of my imagination and the reality of what is before me come together to form images and ideas, which then become inspiration for my paintings.
People inspire me by their unique characters. The unusual attracts me to try and capture their character. Sometimes I can see the innocence in their eyes. I am also fascinated by children and their innocence.
My urge is to get closer to the urban life I am living in. Hence I depict everyday life, what I see everyday, be it in Denmark or the U.S. or travelling. My inspiration is daily activities on the road.
Pastel Mix are a mixture of my pastel paintings in an exciting and innovative way. Every vibration has its own creative energy, and is its own painting. Only intentions matter to me. Painted portraits and flowers are combined to create Pastel Mix.
PART VI - 2019-PRESENT Amalgam Painting
By the term ‘Amalgam Painting,’ I refer to a visual artform that combines a variety of materials and methods in a single work. For example, if you draw with ink, then paint over it with watercolors, then add some highlights in colored pencil - that's amalgam painting! Any materials can be used, including digital media or collage items such as pages from magazines or newspapers, photographs, scraps of fabric, soil, or pieces of packaging. Or an amalgam painting can be as 'simple' as using two mediums, such as acrylic paint with pastel on top of it. Hence, the image constantly changes its identity. It is a kind of play, composed of various materials and techniques, which allows the viewer to participate in the painting.
COLLECTIONS/ AWARDS/ IN PRINT
MUSEUM COLLECTIONS:
State Russian Museum, St. Petersburg, Russia
Rudana Art Museum, Bali, Indonesia
National Gallery of Modern Art, New Delhi, India
Longview Fine Arts Museum, Texas, USA
Herning Kunstmuseum, Denmark
Kunstmuseum, Düsseldorf, Germany
Kastrupgård Kunstmuseum, Denmark
The State Museum, Chandigarh, India
Museu De Arte Moderna, Brazil
Muzeum Okregowe, Koszalin, Poland
Albertslund Kommune, Denmark
Gladsaxe Kommune, Denmark
Ankeny Art Center, Ankeny, Iowa, USA
American Heart Association, USA
International Press Centre, Koszalin, Poland
Indian Embassy, Copenhagen, Denmark
Contemporary Gallery Govt. Museum, Madras, India
Lalit Kala Academy, New Delhi, India
Mölnlycke, Copenhagen, Denmark
F.L. Smidth, Copenhagen, Denmark
Indian Academy of Fine Arts, Amritsar, India
Museum of Modern Art, Haifa, Israel
Lalit Kala Academy, Jaipur, India
Istvan Kiraly Muzeum, Hungary
Novo Nordisk, Copenhagen, Denmark
Leo Burnett, Copenhagen, Denmark
DSB, Copenhagen, Denmark
Academia Nacional Art, Venezuela
Museo Nacional Cocultura, Columbia
Museum of The Americas, Florida, USA
Latino Art Museum, California, USA
Muscatine Art Center, Muscatine, Iowa, USA
AWARDS:
2011 - People’s Choice Award at the Holladay Art Council’s Fall Show, U.S.A.
2007 - Award in Pastel Painting at the Greater Des Moines Exhibited XIV, U.S.A.
2007 - Award in Painting at the Iowa Exhibited XXII, U.S.A.
2006 - Award in Portrait Painting at the Greater Des Moines Exhibited XIII, U.S.A.
2005 - Hind Rattan Award Approved for outstanding achievements by NRI WSOI.
1996 - Award in Graphic at the 3rd Annual International Graphic Art Exhibition
by Art Addiction, Stockholm, Sweden
1992 - The Kahlil Gibran Award for outstanding services in the field of
Fine Arts & Poetry in Denmark by IAPCD, Embassy of India
IN PRINT:
History of Indian Painting: The Modern Period by Krishna Chaitanya. 2004. Abhinav Publications, New Delhi, India
WEILBACH, Dansk Kunstnerleksikon, Copenhagen, Denmark
International Art Diary. 1983-2009. G. P. Editore, Italy
Who’s Who of Indian Writers. 1998. New Delhi, India
Sahitya Academy. 1975. New Delhi, India
Who’s Who in India. 1988. Business Press, Bombay, India
Dansk Kunst. 1988. Fogtdal, Copenhagen, Denmark
Dansk Kunst. 1986. Fogtdal, Copenhagen, Denmark
World Encyclopedia of Contemporary Artists. 1984. Italy