About the Artist

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Born 1962, Delhi, India.

As a critic I have always thought that Vijender the artist, the thinker, the poet “ennobles” thedifficult lives of ordinary people. His figures, whatever their differences of apperance, invariably have different expressions. They glance down, or away from us, sometimes lost in dejected thoughts – sometimes wan, sometimes whipped, and somtimes beaten by life’s odds. Despair is one of the great subjects of art, of course, and in the hands of a relentless generalizer selling platitudes about “the human condiotion,” there is much to ponder over.
Vijender the artist is quiet for contemporary taste. He seems to be a melancholic modernist who creates works that fool the eye and have an added edge of surreal dimensions. His paintings, many of them are not muted in color, but they are bold and powerful and always carrying a story to bnarrate.the textures that he adds to each canvas echo the trails and trbulations of observations he ponders over in the everyday idiom of lifestyles and living.
Yet he is important as an artist because he presents an art more shaded in feeling than many of his Indian contemporaries. Influenced as a young artist by realism, he made one of the most astonishing leaps in Indian contemporary art – transforming himself in 2000 into a painter of hyper realist abstractions and studies of human portraits and choreographed compositions. From that point, he spent the rest of his life probing for the hidden pulse behind appreanrances. He was particularly attracted to subjects and thinkers who looked beneath the surface of the modern world – to create corollaries where even a stone wall seems to have a secret life.
Like his contemporaries in the art circle Vijender was recoiling from the increasing materialism of his society. Inspired by the new ideas about art – especially the vanguard’s drive towards an ever greater degree of abstraction – he hoped to ewnew the Indian panoramic sublime, creating a rhapsodic vision of the subjects that stood as a rebuke to modernized and westernized India.
By Uma Nair


Golden Man and Golden Age epitomize the far-reaching influences- the number of rips Vijender has had on his career, and his lifelong facination with the vibrant, exotic beauty of the modern Indian rituals and their ramifications. Painted in over two formats of depth and abstraction the experimental stylization of figural form which he developed in the last decade has coalesced have into a confident, subtle, yet deeply elegant visual archetype which recurs throughout his works, particularly as he returns form abstraction to figurative portrayals. Female anatomies are depicted as exaggeratedly angular yet with a strong linear quality as their elongated eyes, neck, limbs all flow into each other in seamless harmony as in The Women Today.
“(in painting I first) experimented a good deal in color technique, and when I had evolved a technique which pleased me I tried it upon studies of the human form. I went to many foreign trips and would always convert it into a sketching trip, and there I was always fascinated by the scenery and by the individual expressions of the women. I discovered that women and youth are the ideal subjects for me, and l have made a good number of paintings, modern in feeling and to my own liking many of which I do not wish to sell because they are a part of my interior journey,” affirms Vijender.
Vijender also has an appreciation for the brightly patterned texture of woven cloth found in India and he creates drapes on his subjects and within his backdrops. Within his study of The Woman Today the women’s newspaper garb is painstakingly detailed and complements the realist idiom in depicting modern day reality, for instance the closely rendered fragments that form the plateau of paper print upon which the woman is covered , which expands into larger rectangular and square shapes to form the beekgmund- The geometrical arrangement of these shapes acknowledge
Vijender’s inspiration by modern artists such as Braque, Klee and Miro, and aldo suggests a certain graphic design sensibility; yet simultaneously bears resemblance to the study of expressionism too.
In his works Vijender brings together these contrasting moods.The resulting portraits are frank but also elusive:They have a tremble, both visual and existential, that belies their cold-blooded creation as in the puppets and the mask. A picture of the clown and the puppets delivers Pop smack yet is neither sterile nor mechanically stiff; it does not pin down the eye the way a poster will.It may evoke  the giant faces on billboards or in the movie theaters, but it has no commercial slickness. There is a constant flicker, a back-and-forth shimmer, between the hand and the mechanical means. (The hand is never quite as inexpressive as the artist might wish.) The very idea of the image seems to issue from some fraught space between painting and photography. While a close portrait may offer a fierce close-up of a face -- including individual pores and stray whiskers -- it is also reticent. It refuses  to convey too much psychological insight into the person before us. This creates an extraordinary sensation typical of a narcissistic culture: We know these people intimately and not all.

Catalyst is an example of beautiful brushwork,it looks at how Vijender begins to free his hand. He continues to lay out grids on large canvases, painstakingly transferring the image from a photograph to a canvas, but he loosens the tight stitch. In one series, he fills the spaces with strokes of density: he creates an expressive form from thousands upon thousands of delicate strokes. In another series, he fills the canvas with seemingly odd bits of a host of faces. The more Vijender emphasizes his own touch, the more subtle and varied the light becomes in his portraits until he becomes a gestural painter, standing back and responding with increasing spontaneity to the evolving image.
The Society, Towards Salvation and Self Realisation are three studies of female forms that have been executed with great precision, vivid colors and sensual forms carelully arranged in centrality and mood. The background that colours and covers these surreal forms are uniformly sized faces, each countenance in its pure colour, sometimes only neighbouring colors. Vijender’s tensile tableaux are always finished with edges that curve and wave and dip and scoop their way from top to bottom. Puzzle of Life, 2014, creates a strong contrast between background and foreground Against thinly painted red, green and pale ochre background , a Rubik’s cube in dazzling colors seems to stand in an invitational mode and the young maiden as it carefully moulded in heavy impasto paint with a palette knife, a bas-relief in colour that actually pops off the canvas.
The authority of Vijender’s art sterns from the hand’s complex and varied relationship to the men and women he sees and reads about. A photograph of a face is one, thatVijender cannot accept as a lasting truth. He must remake the photographic hyper realism hand, repossessing the human image in his early work with great reticence and .then, later, with bravado. We are always aware that even so, we cannot finally know these people; we must look at them through the powerful filters of process and artfulness. In the end, Vijender whether intentionally or not, does what most important portrait painters do: He upholds the mystery of the flesh. He does not yield to those with a more mechanical view of what it means to be human. His vision, despite its ascetic brilliance, creates an arid environment where the stress falls almost inevitably upon the harsh the abstract, and the ideological. Then it wouldn’t be wrong to state that as an artist Vijender does not burden the present with dogmas. To serve the future, he keeps alive his own aspirations that have sometimes or somewhere been lost in the past.

Vijender has little time for art’s private sphere. His isolation gives him an encompassing vision that leads him to many ;private collaborations, which whimsically fuses the humane and the mechanical. His creations go through a powerful vision of a society working together to claim a visionary future – a society where the “human”is not a symbol in some trivial sense but instead one who creates the possibility of soaring plendor within everyday tensions and struggles.
To many romantics, the idea of the female form is a fertile idea - for Vijender the young woman wrapped in newspaper is more is more than just an idea -its about how the world perceives her and how the world treats her. The young girl from the modern is transformed by powerful aura of the ideation of multiple news and the world reduced into a few pages in a lively meditation on modern existence. If you wish to remain attuned to the moment, believing with Baudelaire that a modern artist should address his own time, then you’ll relish the conjunction of opposite ends of a century. In many ways this work is illuminating, providing an ironic warning about what happens when the artist himself becomes too like a machine.
The history of the modern millennium is not kind to optimists. Depression, of totalitarian politics, and the careening towards a divide world taken by multiple states of terrorism. Vijender tries to retain the gist of this early vision, but the price of his ability to confront the evolving truth of his time is a hardening of his art. His ideas become a kind of miasma in modernism -- an ideology. His forms, too, become more mechanical – but they are more than a mere decoration. He takes on new subjects, such as Devotion, and his view darkens somewhat, but the paintings themselves appear increasingly in search of hope, their feeling more official than earned. Paradxically, Vijender’s intoxication with the new begins to look traditional and naive. This work Devotion provides a more subtle and contemporary view of our relationship to the world and its spiritual idiom. Here, the shadow of the existence comes not from the reality but process and calculation - and an edgy relationship to the constant pounding and postering of marketing and advertising the human figure and the posture and the flowers all create an amalgam of the art of gesture.
On the other hand Ambition investigates the romantic aspects of art, laying bare the physical process behind art-making, the brute facts of the materials, and the theoretical foundations of the work as masks are woven into the backdrop of the scarlet clad female form. The masks that hang alongside; have their own mirrored moods as they speak of the changes of everyday idioms.
“My subjects are born out of everyday realities. Not only do they offer me a rich visual source, the human experience also reveals the ritualistic, experiential and decorative nature of contemporary art trends – a point which sets the modern millennium story apart from the traditional legends. During and after my travels all over the world and in India, images of human habit provide the inspiration and visual sources enabled the me to crystalise my exploration of an aesthetic style in terms of the hyper realist idioms,” says Vijender.

Vijender is also a lyric poet, yet his new works the Desire series is filled with knotty tension. Secrets of Life was his first work in this series and its quaint how he created the image of a wrapped up canvas in which one would walk towards and try and untie the red threads. This work was used in the show Womb To Tomb in the India Art Fair last year. Then he went onto describe his real emotions and intentions about the desire series and presented the tensions and struggles within. While the larger compositions of one of his pictures may be bold, dramatic, and stark -- with a line/tear that moves swiftly across the surface -- the actual paint may appear by contrast slow-moving and substantial; his brushwork is often strangely palpable, like the tension that sheathes and wants to break beyond its barriers. He does something similar in his treatment of the luminous. The light of revelation is never naked. It seems to emerge clothed in shade from some darkened place. (And may, one: imagines, melt back into the shadows.)
Indeed Vijender is a crepuscular artist, an artist of the gloomy yet wandering with reflections variety, with a melancholy feeling for somber tonalities. Because there is something intractable about nature that does not yield entirely to his desire, the harmonies in his painting do not appear too easily won. As a result, his pictures repay long looking in a way that the work makes us think of multiple manifestations. Toward the deeper intentions of his works it is as if he grew more interested in this kind of tension, making images that are tighter and more complexly abstract. Although these works anticipate Abstract Expressionism, they also give up some of the tang of human nature and man’s inner ruminations.
In this series it wouldn’t be wrong to call Vijender more provincial, because his use of the idea of quasi abstraction seems more borrowed than invented - more applied than deeply understood. Then in his compositional qualities, he is a brilliant tinkerer, and illustrator of moody sentiments. Consequently, we can recognize the beautiful vein of simplicity that flows through the signature of culture in his canvasses and you think of the lyricism of music and many reverberations. Look deeper into the startling commentaries and observations he creates and you see that he makes any awkwardness seem like honesty.
The artist’s sensibility is more complex than the usual portrayal of him as a realist spokesman for the modern idea of man or woman. Perhaps - but the paintings also support the traditional emphasis. Vijender begins as a serious realist, and a deft one he is, at once careful and painterly. Then he brilliantly shifts the key of the style. Although he is brilliant at the realism he creates a hyper realist surrealism and gives us something ironic, playful, and aphoristic in his approach. That air of reason reflected in the grid of compositions - which in realism appears philosophical, a deduction reminiscent of Descartes - is now employed to capture the dazzling mechanics of modern life in people. Vijender creates people and subjects. that look brawny, rough hewn and despair driven rather than refined; he seems to construct his art with a certain , emphasizing primary colors that evoke the shout of the new advertising. He embraces everything new, so long as it does not shrink from the hammering pulse of the young century. More important, the picture is a rhapsodic vision of the twentieth-century city. Lights blink and shimmer, pedestrians hurry past, girders claim the sky. The city is not only a great spectacle. It seems a fresh form of life.
Vijender Sharma has always painted dream worlds, a world that “is only half articulate and leaves the rest to a strange eloquent silence." Using images from his childhood, religious iconography and the stories of the mythic and religious Indian epics, he has created an oeuvre that is deeply private, resonant with myth and full of complexity. 
Culture, in India, has become a squeaky wheel looking for grease. Or so it often seems when the subject is an artist of subtle temperament. A delight in fooling the eye is almost as old as art itself. The ancient Greek painter Zeuxis painted grapes so realistically, it was said, that birds pecked at them. But Vijender Sharma an earnest artist, aspires to be more than a trickster. He wants to convey a profound view of existence, one suggesting that, to borrow Thoreau’s words, “the mass of men lead lives of quiet desperation.” This show, includes many of his archetypal figures from reality myth and his own idea of fantasy : a young girl wrapped up in newspaper, ahairy man breaking out of a sheath that looks tight, a wrinkled pair of hands held in clenched closeness while the flowers around speak of the power of human spirit. And when gathered together into the two galleries at the Lalit Kala Akademi in Delhi, indeed they hereby create a strangely still party.


1990 - M.F.A. Painting with distinction,
Gold Medalist from college of Art, New Delhi. 
1986    Sahitya Kala Parishad, New Delhi. 
1987    All India Police Meet, New Delhi. 
1990    Pt. Ravi Shankar Award (College of Art), New Delhi. 
1990    Yuva Mahotsava Sahitya Kala Parishad, New Delhi.
1990     AIFACS Awards, New Delhi  
2003    Artist of the year, New Delhi. 
2003    Harmony Show, Mumbai.  
2009    AIFACS Award, New Delhi. 
2015    Kala  Ratna  Samman,  by Agnipath, New Delhi.
2015    ‘Raja Ravi Verma Award’ by Raja Ravi Verma foundation.
2016    RAJA RAVI VARMA SAMMAN by Megh Mandal Sansthan, Mumbai.
2016    Got GUINNESS WORLD RECORDS in Longest Painting in the World (group)


1989    Shridharani Art Gallery, New Delhi. 
1996    LTG Art Gallery, New Delhi. 
1997    LTG Art Gallery, New Delhi. 
1998    Art Indus, New Delhi
1999    Art Indus, New Delhi 
2000    Art Indus, New Delhi 
2001    Shridharani Art Gallery by Art Indus, New Delhi. 
2002    Shridharani Art Gallery by Art Indus, New Delhi. 
2003    Shridharani Art Gallery by Art Indus, New Delhi. 
2003    Harmony Show by Reliance, Nehru Centre, Mumbai. 
2004    Shridharani Art Gallery by Art Indus, New Delhi. 
2005    Shridharani Art Gallery by Art Indus, New Delhi. 
2008    ‘Balance of Life ‘ at Shridharani Art Gallery, Inaugurated by Dr. APJ Abdul Kalam (Former President of India). 
2014    Lalit Kala Academy, New Delhi. 
1987    National Exhibition, New Delhi. 
1989    National Exhibition, New Delhi. 
1995       National Exhibition, New Delhi. 
1990    LTG Art Gallery, New Delhi. 
19 95   LTG Art Gallery, New Delhi. 
1997    Park Sheraton, Chennai.
1997    Winsor Manor, Bangalore. 
1998      Freedom Gallery, New Delhi.
1998      Art Today (Show organized for charity), Art Indus, New Delhi. 
1998      Cymroza Art Gallery, Mumbai. 
1998      Hyatt Regency, New Delhi. 
1999    Freedom Gallery, New Delhi. 
1999       Harmony Show, Mumbai.
1999    Om Gallery, New Delhi. 
1999    Master’s Guild, New Delhi.
1999    LTG Art Gallery, New Delhi.
1999    Art & Cinema-Habitat Art Centre, Delhi.
1999    Art Today, New Delhi. 
1999    Nehru Centre, London. 
2000    Action India, Art Junction, New Delhi by Nafisa Ali.
2000    Art Today, New Delhi, (Guess who painted) 
2000    Hyatt Regency, New Delhi.
2000    Academy of Fine Arts & Literature, New Delhi.
2000    Harmony Show, Mumbai.
2000    JESUS-A man of Sorrow by P.N. writers, Mumbai.
2000    Birla Academy, Calcutta. 
2001    Harmony Show, Mumbai.
2001    Vivant Gallery, New Delhi.
2001    Decade Show, Gallery Ganesha, New Delhi. 
2002    ‘KRISHNA’ Show by Gallery Om, New Delhi.
2002    ‘SILENT AUCTION’ by French Embassy.
2002    “100 years of Sanyal”   Exhibition curated by: Anjolie Ila Menon at Mati Ghar, Delhi.
2002    Harmony Show, Mumbai. 
2004    ‘BONDING’ at Lalit Kala Academy, Delhi by Art Pilgrim.
2002    ‘BONDING’ at Kolkata, Curated by Rattanottama Sen Gupta,
2002    ‘SACRED SPACE’ at Jehangir Art Gallery, Mumbai by RPG. 
2005    ‘DEVOTION’ by Gallery Art Positive.
2005    Harmony Show, by Reliance, Mumbai.
2005    Art Indus, New Delhi ‘Palette Poetry’ by Joie Art Gallery. 
2006    Birla Academy, Kolkata.
2006    Mystic Journey by AIM - Exhibition by Gallery Art Positive, 
2006    Singapore Birla Academy, at Lalit Kala, Delhi.
2006    ‘SYMPHONY OF COLOURS’ by AIM & Art Land, Mumbai.
2006    ‘ENIGMA OF HUES’ by AIM & Gallery Art Konsult.
2006    Independence day celebration at Rashtrapati Bhawan, New Delhi.
2006    ‘Satya – Grah’ Travancore Art Gallery, New Delhi.
2006    ‘Satya Grah’ South Africa.
2006    Russian Cultural Centre by Art Land Gallery, New Delhi. 
2007    ‘ART FOR PRABHAT’ at Visual Art Gallery, IHC, New Delhi.
2007    Auction by Bonhams for Tehelka at London.
2007    Exhibition by Gallery Artland at Dubai. 
2008    ‘Indo-Rasia-2008’ by Canvas art gallery at Delhi.
2008    ‘ASPIRATIONS’ By Airtel, Sahaj Sankalp & Studio Vasant at Delhi.
2008    ‘BALANCE OF LIFE‘Art Exhibition at Shridharani Art Gallery by Art Indus New Delhi.Inaugurated by Former President of India Dr. A.P.J. Abdul Kalam. 
2009    ‘AMALGAMATION’ by Art-ians at Crown Plaza, Gurgaon.
2009    AIFACS, New Delhi.
2009    ‘JOURNEY OF LIFE‘- Reflection Art Gallery, Indore. 
2010    ‘COLOR CONCLAVE’ Capitol Art Lounge, Delhi.
2010    Jehangir Art Gallery by Pink Ginger Arts, Mumbai. 
2010     11 Masters by Dhoomimal City Gallery, Delhi. 
2010     COLOURS OF LIFE by Art Mall Gallery, Delhi. 
2010     Art Show by Savera Organisation at Lalit Hotel, Delhi.
2010    'PRAKRITI' by Abstract Art Gallery, Bangalore.    
2010    'CONTEMPORARY INDIAN ART ' by MAFACS Art Gallery, Gurgaon. 
2010    'VIGNETTE' Lalit Kala Akademy, Delhi 
2011    ‘VISTA-2011’ by Tao Gallery & Popular Prakashan, Mumbai. 
2011    PORTRAIT OF AN ARTIST’ by Dhoomimal Art Centre, Delhi.
2011    Exhibition by Kumar Art Gallery, Delhi.
2011    ‘COLOUR 2011’ by Artlandindia, Mumbai.
2011    ‘UTTAR-PURAB’ by ECA,   Kolkata.
2011     ‘EVOLVE’ by Dhoomimal Art Gallery, Gurgaon. 
2011     ‘COLOURS & SUBSTANCE’ by AIM & Artlandindia, at Sridharani Art Gallery, Delhi. 
2011    Group show at Lalit Kala Gallery, ‘MEMOIRS OF AN ERA’ by Dhoomimal Art Centre, Delhi. 
2011    Art Exhibition at Arpana Art Gallery, New Delhi.
2012    ‘MASK’ Art Show by Nav Siddhartha Art Group at Lalit Kala, New Delhi.
2012    ‘COLOURS- 2012’ by Artlandindia, Museum Gallery, Mumbai.
2012    ‘MYTHOLOGY” BY Dhoomimal Art Gallery, New Delhi. 
2012    Art exhibition by Indian Cancer Society, Mumbai, 
2012    ‘The Mute Shall Talk’ by Art Inc. New Delhi.
2012    The Blue Art Gallery at Gallerie Romain  Rolland, New Delhi.
2012    ‘Absolute Lustrum’ by JS Art Gallery,     Mumbai, 
2012    ‘Simply Strokes’ at Lalit Kala Gallery, New Delhi, 
2012    Group show at Greenwood Art Gallery, New Delhi
2013    'Confluence des Arts' a Group show of 100 artists at Gallery Artchill, Amber Fort, Jaipur
2013    Group Show at Juneja Art Gallery, Jaipur.
2013    Art Show at Jehangir Art Gallery by Gallery Artland, Mumbai
2013    Art Show by PRO Gallery, Dubai, 
2013    Art For Uttarakhand at Lalit Kala, Delhi.
2013    Art Exhibition by Wisdom, Greenwood Art Gallery, New Delhi
2013    UAF-2013 by United Art Fair, Delhi, 
2013    ART FOR LIFE- 2 by Aapsa Gallery at Gurgaon & Lalit Kala, Delhi
2013    Art Exhibition by Artland in Shridharani Gallery, New Delhi
2013    Art Exhibition by Modern Art Gallery, AIFACS, New Delhi
2013    Jaipur Art Summit, organized by Juneja Art Gallery.
2014    ART FAIR-2014 by Pioneer Art Gallery, Nehru Centre, Mumbai. 
2014    ECA Calling by Emami Chisel Art Gallery, Kolkata.
2014    India Art Fair-2014 by Art Indus Art Gallery, New Delhi.
2014    Nirbhaya Art Exhibition at Ignca, Mati Ghar, New Delhi.
2014    Art Exhibition at Dhoomimal Art Gallery, New Delhi
2014    Colors Screen Art Show Dubai at Radisson Hotel, Dubai.
2014    25th Anniversary of Roerich’s Art Club, Russian Centre, New Delhi.
2014    All India Exhibition at Jaipur Art Summit. 
2014    'Contemporary Figuration' Group show at Juneja Art Gallery.
2014    'Treasures of Rajasthan Season II' at Indira Gandhi National Centre for the Arts, New Delhi Organized by Juneja Art Gallery.
2015    India Art Fair by Art Indus Art Gallery, New Delhi.
2015    Wild Life & Nature Exhibition at Lalit Kala Akademy, Lucknow.
2015    Portrait Exhibition by AIFACS, New Delhi.
2015    ‘Art Walk’ at Juneja Art Gallery, Jaipur.
2015    Aparajita Exhibition by VHAI & Gallery Freedom, Delhi.
2015    Art Exhibition by Artland, Jahangir Art Gallery, Mumbai.
2015    Elegancy of Colours at Lalit Kala Academy, Delhi.
2016    India Art Summit, New Delhi. 
2016    Conversation by Galleria Nvya at IGIA, New Delhi.
2016    Global Art Fair 2016 at Oberoi Hotel, Dubai.
2016    Group Show at Gallery Artchill, Amber Fort, Jaipur. 
2016    India Art Festival at Nehru Centre, Mumbai.  
2017    Art Exhibition by Shata Art Gallery.
2017    Silent Emotions at Shanta Art Gallery, New Delhi.
2017    Art Exhibition by Oochan Art Gallery, Gurugram, Haryana.
2017    Art Exhibition by Wagon Art at Marwah Studio, Noida.
2017    IFA India Art Festival, New Delhi.
2017    YesArtCan Indira Gandhi Centre for the Arts. New Delhi.
2017    International Kala Mela by Lalit Kala Akademy, New Delhi.
2017    Geetanjali Art Gallery, New Delhi.
2017    Nav Shri art & culture at Attisan Gallery, New Delhi.
2018    ‘ART IDIOMS - STRAY & MOULDED' Group Show at Juneja Art Gallery, Jaipur.
2018    Maze Exhibition by Vibe Art Pvt Ltd at Cymroza Art Gallery, Mumbai    
2018    ELITAIRE Exhibition by Eligancy at Visual Art Gallery, IHC, New Delhi
2018    THE FACE an exhibition by Tangerine Art Space, Banglore.
2018    India Art Festival, Tyagraj Stadium, New Delhi.
2018    Dialogue with Nature at Russian Centre of Science & Culture, New Delhi.
2019    Modern Art Gallery, Santushti Complex, New Delhi.
2019    Cosmo Art Gallery, New Delhi.
2019    India Habitat Centre by Modern Art Gallery, New Delhi.
2019    ArtLand Art Gallery, Museum Gallery, Mumbai.
2019    ‘Inner voices - outer masks’ show by Group Show at Gallery Artchill, Jaipur

1989    Encounter FORE. 
1990    Encounter FORE. 
1997    Sahitya Kala Parishad, New Delhi. 
1998,99,2002  Oberoi Hotel by The Arts Trust, Mumbai. 
           Jodhpur - Bal Samand Palace by Gallery Ganesha. 
           Manali Camp. 
2002    Thailand - Art Camp by Art Indus. 
2002     Marva Art Camp, Organised by Art Trust, Mumbai. 
2003    Tajmahal Hotel, Mumbai by Art Trust.
2003    Marva Art Camp, Mumbai; 
2003    Malaysia Art Camp by Generation Next. 
2004    Mauritius Art Camp by AVM Architects. 
2004    Venice Art Camp, Italy by Arts Trust. 
2005    Art Camp in Turkey. 
2006    Art Camp by Popular Prakashan at Turkey. 
2007    Ramchander Nath - Foundation Art Camp at Nainitaal.
2007     Art Camp by Popular Prakashan at Paris. 
2008    Pink Ginger by Platinum at Italy. 
2009    Art Camp in South Africa. 
2010    Art Camps at Norway, Swidon & Denmark. 
2011    Art Camp by RPG, Mumbai, Art Camp by Rai Foundation AtBhimtaal. 
2011    Tour by AIM at Australia. Aarambh by Rasa  Foundation Sattaal. 
2012    Art Camp by Vihaan Art Foundation at Indonesia & Thailand. 
2013    Art Camp, Odisha.
2013    National Art Camp Art Camp at Patnitop Jammu.
2013    Rashtriya Kala Sangam Art Camp, Bihar.
2014    Girija Modi International Art Camp, Jaipur.
2014    Galleria VSB National Art Camp, Konark. 
2014    Art Camp at United Kingdom & Scotland.
2015    National Level Painters Camp by Raj Bhawan, J &K, Srinagar.
2015    Art Camp at Goa.
2015    Art Camp at Hongkong & Shenzhen.
2015    Jaipur Art Summit-15, Jaipur.
2016    India Art Festival at Mumbai.
2017    Art Camp at Hampi, Karnataka.
2017    Art Camp by State Bank of India, Mahabalipuram.
2017    Art Camp at Rishikesh.
2017    The Little Yellow Butterfly Art Camp at Gurugram.
2017    Art Camp by Vibe Art Pvt Ltd. at Mauritius.
2017    Art Camp at Trupati
2018    Peace Art Camp Bhutan.
2018    Art Camp by Bihar Museum, Patna, Bihar.
2018    Qatar International Art Camp, Qatar.
2019    Patna Govt Art Camp, Patna
2019    Jawahar Lal Darda Art Camp, Nagpur 
2019    Qatar International Art Festival, Qatar.  
Contributed paintings for TV Serials – B.R. Chopra’s ‘Mahabharata’,
Ramanand Sagar’s ‘Ramayana’ & ‘Vikram aur Vaital’. 
Commissioned two portraits of Hon'ble President of India 
A.P.J.Abdul Kalam to display at Rashtrapati Bhawan.
Commissioned portraits of Hon'able Presidents of India
Pranav  Mukherjee for  Rashtrapati Bhawan.
One portrait of Loksabha Speaker Mr. P.A. Sangama for Parliament House. 
Had been judge for reputed art competition like Lalit Kala Academy,   
Punjab & SAARC Art Competition & many others.
Commissioned  portraits  of  Hon'able  President  of  India  Pranav  Mukherjee for President House.
Had been judge at AIFACS.
Guinness Book Record, Longest Painting, Meerut Group. India
President House of India, Mr. A.P.J. Abdul Kalam, Parliament House, College of Art, Delhi, Mr. Mukesh Ambani,  Ms. Tina Anil Ambani, Mr. V.C. Burman of Dabur, RPG Mr. Harsha Goenka, Mr. Abhishek Manu     Singhavi, Mr. Shailesh Khetan,  Hyatt Regecy  Hotel, The Oberoi Hotel, Hydrabad House United Kingdom, Japan,  Denmark, Dubai, Italy,  Paris, Sweedon, Singapore, U.S.A, Tanzania, Turkey & many other     
private  collection in India  & all over the world