Portraits of Light and Memory
For many years, I painted people before plants became the heart of my artistic practice.
Looking back, I realize I wasn't simply painting faces—I was learning how to observe.
These portraits were painted over many years, capturing moments of childhood, light, and memory. Before botanical printing became central to my work, faces taught me to observe slowly—to notice the fleeting expressions that disappear in an instant. That same attentive way of seeing continues today in my dialogue with nature.
Kaya in pink
Two moments from one childhood. Painted in watercolor, these portraits explore how light and expression change from one fleeting moment to the next. Rather than recording likeness alone, they seek to preserve the quiet presence that makes childhood so luminous.
Julieta and her toy
Holding a small toy close to her face, Julieta seems absorbed in her own private world. Painted in loose watercolor, the portrait balances spontaneity with quiet concentration, celebrating the imagination and intensity that belong so naturally to childhood.
Little Ahana
Some children seem to observe the world before they try to understand it. Ahana's quiet gaze captures that openness, where curiosity, presence, and wonder speak more deeply than words.
Wrapped in vibrant red, Shivani radiates warmth, confidence, and quiet joy. The softly suggested background keeps the focus on her presence, allowing expression to speak more loudly than detail.
Shivani in red
Beyond childhood
Peace - Shri Mataji
Painted during one of my visits to India, this portrait of Shri Mataji Nirmala Devi captures a moment of quiet reflection. Rather than emphasizing ceremony, I was drawn to the atmosphere of serenity that surrounded her. Soft washes of blue and the gentle gesture of prayer create a portrait that invites stillness and contemplation.
Portraiture taught me to slow down and notice what often disappears in an instant. Over time, that same attentive way of seeing found a new subject in leaves, flowers, and the quiet patterns of the natural world. The practice remained the same—only the subject changed.
From Faces to Leaves