V A R U N K A P O O R
The
celestial equator of Earth — when in perfect
alignment with the
sun — signifies that all
the influences
upon the planet
are at equilibrium.
As
the dark months
pass behind us, we
expand and
welcome warmth
and the fresh fires
of new beginnings cyclically.
G E N E S I S —
Based on my research, on the days of the equinox — one in March and another in September — the celestial equator is in perfect alignment with the sun. This signifies that all the influences upon the planet are at equilibrium.
The Spring Equinox always takes place around March 20 or 21. At this point in time, the Sun crosses the celestial equator and moves north. In the Northern Hemisphere the spring equinox arrived on March 20, 2023 at 5:24 P.M. EST this year.
As the Earth is coming alive again, we can focus on our own awakening. As the dark months pass behind us, we expand and welcome warmth and the fresh fires of new beginnings cyclically. This is an excellent time to prioritize moderation and balance, with the day and night in total alignment.
The Earth's tilt of approximately 23.5 degrees causes the most direct sunlight to fall on the Southern Hemisphere during the astronomical winter and on the Northern Hemisphere during the astronomical summer.
P r e s e n t f o c u s
S E A S O N V S C I T Y
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S P R I N G
[ A c r y l i c / C a n v a s ]
1 5 2 X 1 1 2 c m
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S P R I N G ( i i ) . F i r s t h o u r o f r e f l e c t i o n
[ A c r y l i c / C a n v a s ]
5 0 . 8 X 3 0 . 4 8 c m
My current explorations encourage me to take a closer look at cities around the world while I put aside my current view of the state of the world and its ongoing occurrences. I’m unfolding a project that explores city streets and landscapes to explore what makes them special. This is an early component of a larger project that explores photorealism in detail using acrylics. Here I use a tablet—a digital medium that I often find comfortable working with. Artworks are entitled CITY VIEWS. CITY VIEWS is a form of enthusiasm. It is about contrasts and similarities between the human identity and her surroundings. It explores a different way to look at sensual energy and character.
Upon first glance, this liveliness seems initiated by urban visual dynamisms, absorbed from the painting to the viewer in the same manner as otherwise by being immersed physically within that urban scape. This wilderness from the scene floats through the woman, revealing beauty in her form as it swells. Her presence seems to lie within the parameters of the foreground, yet she alternates melting into the background because she restates how much she is a part of the city herself.
It is to remind the viewer of a certain beauty that is such of the viewer’s very own—about the ability to see beyond the obvious, to examine his or her own current perspective of view from within the establishment of social norms, cultural norms and material things—to a view beyond. The woman’s identity seems enigmatic and secretive much like the city’s projection through her. It lies in her nature to disclose just as much as she desires about herself to the viewer while such is also in parallel a case of how much the city discloses beyond the obvious.
—
M I X E D M E D I A >
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B A D D I E [ 3 ]
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B A D D I E [ 2 ]
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B A D D I E
D I G I T A L S >
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A F T E R T A S T E
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F O R T I T U D E
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C O M B A T
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P U L S E
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B A D D I E [ 2 ] S K E T C H
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C O N V E R S A T I O N
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D I S C R E T I O N
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G A M E
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G R I T
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A T T R A C T I O N
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R E S T O R A T I O N
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L I V E L I N E S S
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V I S I O N
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D Y N A M I S M
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E S C A P I S M
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C A R N A L I T Y
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W A R M T H
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I M P R E S S I O N
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M A G N E T I S M
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I N D U L G E N C E
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R E V E R I E
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P E R S U A S I O N
[ E N D O F C U R R E N T F O C U S ]
—
S E A S O N V S C I T Y
S P R I N G
[ A c r y l i c / C a n v a s ]
1 5 2 X 1 1 2 c m
S P R I N G ( i i ) . F i r s t h o u r o f r e f l e c t i o n
[ A c r y l i c / C a n v a s ]
5 0 . 8 X 3 0 . 4 8 c m
My current explorations encourage me to take a closer look at cities around the world while I put aside my current view of the state of the world and its ongoing occurrences. I’m unfolding a project that explores city streets and landscapes to explore what makes them special. This is an early component of a larger project that explores photorealism in detail using acrylics. Here I use a tablet—a digital medium that I often find comfortable working with. Artworks are entitled CITY VIEWS. CITY VIEWS is a form of enthusiasm. It is about contrasts and similarities between the human identity and her surroundings. It explores a different way to look at sensual energy and character.
Upon first glance, this liveliness seems initiated by urban visual dynamisms, absorbed from the painting to the viewer in the same manner as otherwise by being immersed physically within that urban scape. This wilderness from the scene floats through the woman, revealing beauty in her form as it swells. Her presence seems to lie within the parameters of the foreground, yet she alternates melting into the background because she restates how much she is a part of the city herself.
It is to remind the viewer of a certain beauty that is such of the viewer’s very own—about the ability to see beyond the obvious, to examine his or her own current perspective of view from within the establishment of social norms, cultural norms and material things—to a view beyond. The woman’s identity seems enigmatic and secretive much like the city’s projection through her. It lies in her nature to disclose just as much as she desires about herself to the viewer while such is also in parallel a case of how much the city discloses beyond the obvious.
—
M I X E D M E D I A >
B A D D I E [ 3 ]
B A D D I E [ 2 ]
B A D D I E
D I G I T A L S >
A F T E R T A S T E
F O R T I T U D E
C O M B A T
P U L S E
B A D D I E [ 2 ] S K E T C H
C O N V E R S A T I O N
D I S C R E T I O N
G A M E
G R I T
A T T R A C T I O N
R E S T O R A T I O N
L I V E L I N E S S
V I S I O N
D Y N A M I S M
E S C A P I S M
C A R N A L I T Y
W A R M T H
I M P R E S S I O N
M A G N E T I S M
I N D U L G E N C E
R E V E R I E
P E R S U A S I O N
[ E N D O F C U R R E N T F O C U S ]
—
P A S T
2 0 1 9 W O R K I N G S/
2 0 1 8 W O R K I N G S/
2 0 1 7 W O R K I N G S/
2 0 1 6 W O R K I N G S
—
2 0 1 8 W O R K I N G S / D I G I T A L S [ A B S T R A C T S ] >
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H E R B O M B A Y 1
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H E R B O M B A Y 4
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H E R B O M B A Y 1 0
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H E R B O M B A Y 1 1
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H E R B O M B A Y 1 2
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H E R B O M B A Y 1 3
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H E R I T A G E 2 - M A R U L A
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2 0 1 8 W O R K I N G S / T H E L O T U S / N E L U M B O P A R T O N E
O P E N I N G
While a lotus (also known as nelumbo) is believed to convey strength and durability with its clean rise through tough mud, this is also informative of extraordinary ways of the human capability regarding what people can accomplish. To initiate a purification within a human and build strength whatsoever, physical needs must be first met in order to move forward.
The modern human is easily lost. Growing up, a child gets consumed by myths that are infused into the cultural history and theory surrounding the child. Contextually, this envelopes the lotus and the myths are responsible for the misrepresentations in the symbolism of the flower. People make constant attempts at putting pieces of this puzzle together, attempting to relate as they try to figure out their own placement on earth. Inevitably, messages about a lotus are not quite clearly understood by result of the exaggerations. Its rise from the mud is only so because of the nourishment delivered to it by its ground sources.
PART ONE
THE LOTUS /Nelumbo
H E R B O M B A Y 1
H E R B O M B A Y 4
H E R B O M B A Y 1 0
H E R B O M B A Y 1 1
H E R B O M B A Y 1 2
H E R B O M B A Y 1 3
H E R I T A G E 2 - M A R U L A
—
2 0 1 8 W O R K I N G S / T H E L O T U S / N E L U M B O P A R T O N E
O P E N I N G
While a lotus (also known as nelumbo) is believed to convey strength and durability with its clean rise through tough mud, this is also informative of extraordinary ways of the human capability regarding what people can accomplish. To initiate a purification within a human and build strength whatsoever, physical needs must be first met in order to move forward.
The modern human is easily lost. Growing up, a child gets consumed by myths that are infused into the cultural history and theory surrounding the child. Contextually, this envelopes the lotus and the myths are responsible for the misrepresentations in the symbolism of the flower. People make constant attempts at putting pieces of this puzzle together, attempting to relate as they try to figure out their own placement on earth. Inevitably, messages about a lotus are not quite clearly understood by result of the exaggerations. Its rise from the mud is only so because of the nourishment delivered to it by its ground sources.
PART ONE
THE LOTUS /Nelumbo
/High Vibrations Emitter
The above message of the flower bears a direct relationship to the one from ancient Indian teachings, based on earthbound pleasures. Inscribed in this series is a visualization of a special lotus flower quality—its mysterious ability to make organisms around it feel high spirited and blissful through its constant discharge of vibrations.
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T H E L O T U S / N E L U M B O P A R T O N E
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R
A c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R i i
A c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R i i i
A c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R i v
A c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R vA c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R v iA c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R v i i
A c r y l i c / C a n v a s
2 0 “ x 1 2 “
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R v i i i
A c r y l i c / C a n v a s
2 0 “ x 1 2 “
—
2 0 1 9 W O R K I N G S / T H E L O T U S / N E L U M B O P A R T T W O
T H E L O T U S / H I G H V I B R A T I O N S E M I T T E R i x
D i g i t a l P a i n t i n g
—
2 0 1 6 W O R K I N G S / H U M A N E M O T I O N
Human Emotion is my observation of humans as they constantly exchange psychological and social behavioural traits with one another through modes of communication on a daily cycle. Attitudes and beliefs are exchanged, rejected and mocked.
P R I D E
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
L O V E
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
N O S T A L G I A
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
S E C R E C Y
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
ACRYLIC / CANVAS
2 0 ” x 1 2 ”
V I C T O R Y
ACRYLIC / CANVAS
3 6 ” x 2 0 ”
ACRYLIC / CANVAS
3 6 ” x 2 0 ”
L I B E R T Y
ACRYLIC / CANVAS
3 6 ” x 2 0 ”
ACRYLIC / CANVAS
3 6 ” x 2 0 ”
—
2 0 1 7 W O R K I N G S / S P I R I T O F N I G H T
Spirit of Night is a set of workings portraying the spiritual significance of a flower and its impact on us. Known to be a symbol of beauty, this power refers to the vibrations that the flower emits towards us when we are in its captivity. These often influence our choices. Specific flower types and their symbolisms have an intriguing impact on us. Flower choices reveal a person’s inner character traits, questioning the depth of our relationships within the bioworld. It allows for a deeper understanding of the human spirit’s bondages to earth itself.
A B O V E M U D D Y W A T E RA c r y l i c / C a n v a s
6 0 “ x 4 4 “
B L U E M O R N I N G G L O R Y
A c r y l i c / C a n v a s
6 0 “ x 4 4 “
D E L O N I X R E G I A
A c r y l i c / C a n v a s
5 6 “ x 4 2 “
B A M B O O O R C H I D
A c r y l i c / C a n v a s
5 6 “ x 4 2 “
—
A R T S T U D I E S < l i n k
P O S T A R T S T U D I E S < l i n k
—O T H E R
C O M M I S S I O N S / C O M M E R C I A L P R O J E C T S
L U C K Y L U C I A N O
ACRYLIC / CANVAS
5 6 ” x 4 2 ”
ACRYLIC / CANVAS
5 6 ” x 4 2 ”
J O H N G O T T I
ACRYLIC / CANVAS
5 6 ” x 4 2 ”
ACRYLIC / CANVAS
5 6 ” x 4 2 ”
F R A N K C O S T E L L O
ACRYLIC / CANVAS
5 6 ” x 4 2 ”
ACRYLIC / CANVAS
5 6 ” x 4 2 ”
U N T I T L E D
ACRYLIC / CANVAS
1 9 . 6 ” x 1 5 . 7 ”
Z A A R A
ACRYLIC / CANVAS
4 0 . 1 ” x 2 8 ”
G R A N D D A D
ACRYLIC / CANVAS
2 4 ” x 1 8 . 1 1 ”
S O N N Y F R A N Z E S E
ACRYLIC / CANVAS
6 0 ” x 4 4 ”
T H E N E C K L A C E
ACRYLIC / CANVAS
3 4 ” x 2 4 ”
A B O U T
V A R U N K A P O O RMy subjects bare cultural influences of attitude and expression as I explore sensual art. I embrace to perpetuate the female body as my main component on the basis that a woman’s form and her shapes universally convey harmony. I believe that recognition in the human form is only perceived and measured correctly through her nakedness. I notice growing disconnections to true intimacy within our timeline of evolution.
My aim is to widen the spectrum of acceptability across societies through intimacy of the human instinct, allowing for a reinstatement and use of its expressions. The intention of my work is to empower the demystification of divine love via the insertion of true intimacy into the growing loopholes of the human conscience and administer its means.
I toy around using typographic design aesthetics and paint letters in. I embed these into my working style to address core imports. I see design playing a pivotal role in the structural establishment of my art forms, allowing for interpretations of my story even where I do not use type design specifically—be it a use of a vivid palette or a heavy graphic embodiment.