非池中藝術網

我的作品主題圍繞在環境、氣候變化、空氣污染（包括喜馬拉雅山的污染）等議題上。自 2012 年以來，空氣污染是我一直關懷並試圖處理的議題。而屬於密宗佛教萬神殿的化身或神靈，也是我作品中反復出現的形象。自然與文化在我的作品中並存；我用自然和尼泊爾傳統繪畫形式裡常見的神祉和動物的性格結合，表達我的生態批判意識。伴隨著歷史文化和生態意識，這些藝術創作帶出各種當代議題，並且解構傳統的秩序，以傳達我對混亂環境的痛苦感受。我的創作強調歷史和傳統意識在當代藝術形式演變中的重要性；傳統是我們成長和開花的根源。這是對我們自身身份的追求，一種過去與現在的相連。

I am trying to weave my oeuvre around the theme of environmental, climate changes, air pollutions, including the rise of pollutions on the Himalayas. Air pollution is one of the main series that I have been trying to focus on my artworks since 2012. Avatars or deities belonging to the tantric Buddhist pantheon are recurrent motifs in my artwork.

Nature and culture coexist in my artworks. Nature and the forms of traditional Nepali painting come together with the character of ‘deities’ and animals to give expression to my eco-critical sense. Along with the historico-cultural and ecological awareness, the artworks bring forth the themes of contemporary issues. I dismantle the traditional order to communicate my bitter feeling in relation to my chaotic context.

My artworks emphasize the importance of the awareness of history and tradition in the evolution of contemporary art forms. They seem to say tradition is the root from where we grow and bloom. It is the quest of identity within ourselves. The past connects to the present.

Migration遷移

陪臚（Bhairab）是濕婆神忿怒的化身，在畫作裡雙手捧著飛機，既反映了疫情對人們出行的限制，也指出全球化時代的人口流動是病毒迅速傳播的主要原因。我用忿怒的陪臚表達自然的反撲。

Holding the Aircraft on the both hands, this painting not only reflect the restrictions on people’s traveling under the pandemic, but also point out that population movement in the era of globalization is the major reason for the rapid spread of the virus. To create an aggressive feelings about this issue, I use the mask of the “Bhairab Deity” along with the human body.