You’ve worked across photography, illustration, and filmmaking, but when an idea first arrives, it probably doesn’t introduce itself as any of those. What does that first spark usually look like for you - a visual, a feeling, a memory, or something else entirely?
Some ideas arrive spontaneously, without any planning. It’s difficult to explain exactly how an 'unplanned idea' emerges, but I’ll try my best.
The trigger can come from anywhere, a strange moment I notice on the street, a scene from a film, a line from a book or something I read online, a piece of music while having coffee, or even a conversation with a friend. These moments occur completely at random, and I never try to force anything at this stage.
That initial spark is simply an entry point. From there, I begin connecting it with things I’ve already seen, experienced, or stored in my memory. Often, these connections seem unrelated to the original trigger, but I enjoy linking those dots in my own way and discovering a new story through my personal perspective. I believe the most authentic ideas emerge from this process, a kind of pattern recognition that reveals unexpected relationships between seemingly unrelated thoughts and experiences.
With “planned” ideas, the process is slightly different. This usually happens when I’m working from a brief and already have a sense of direction, which is often the case in commercial projects. Here, I have to actively search for that initial trigger point rather than waiting for it to appear on its own. Once I find it, however, the rest of the creative process remains largely the same.
The main difference here is that I don’t rely on inspiration arriving through the randomness of the world. Instead, I deliberately explore different perspectives and possibilities until I discover an entry point into the idea. The key is to remain open and allow myself the freedom to think in unexpected directions.
Some stories seem to demand a camera, while others feel more at home in a sketchbook or on screen. How do you recognise what medium an idea is asking for?
Once I have an idea, the next step is its realisation. I begin by asking myself: What is the best medium to communicate this story or idea in a way that creates the strongest impact on the audience?
For example, if I have a fantasy story, it could be told as a graphic novel or as a film. While both mediums have their own strengths, the story may have a greater emotional and immersive impact as a film, since the audience experiences it in real time through movement, sound, and performance. That said, a graphic novel can offer a unique and equally compelling experience in its own way. Ultimately, the nature of the story often determines the most suitable medium.
There are also situations where multiple mediums can effectively deliver the intended impact. In those cases, I have to weigh practical considerations such as time, effort, and budget. Some stories require resources that are only possible through large-scale productions, while others can be realised more efficiently through illustration, photography, animation, or other formats.
In the end, choosing a medium is a balance between creative intent and practical constraints. The goal is always to find the most effective way to bring the idea to life while staying realistic about the resources available.
Has there ever been an idea that started as a photograph but eventually became an illustration or a film? What did that journey teach you about storytelling?
Yes, there are many. One example is my Indo-Futurism series, Folk SciFi.
The idea began in 2020 during the COVID period when I photographed my nephew watching a temple festival in Kerala. While revisiting those photographs later, I started imagining futuristic elements within the traditional setting. That eventually led to Folk SciFi, an illustration series that blends science fiction with Indian myths, folklore, and cultural narratives.
Over time, the project evolved beyond illustrations. The ideas naturally expanded into short films, music videos, and brand films, each exploring different aspects of the same creative universe. Today, I am developing a full-length feature film based on this concept.
That is the beauty of visual art. Once you discover an interesting idea and begin exploring it, new ideas often emerge from the process itself. One thought leads to another, and before long, you realise that everything is connected. What starts as a single photograph can grow into an entire body of work spanning multiple mediums and forms of storytelling.
Before becoming a full-time artist, you studied engineering and worked in technology. Looking back, how much of your creative practice was self-taught? Were there particular tools, software, or skills you had to learn on your own along the way?
I have been painting ever since I was a child. My first medium was watercolour, as there was no concept of digital art at that time. I regularly participated in school festivals for drawing and painting, and I was fortunate to have supportive parents and teachers who encouraged my interest in art.
My father, despite being a mathematics teacher, had a deep appreciation for art. He taught me how to use brushes and introduced me to the fundamentals of painting. My teacher in primary school was also passionate about art, and I still remember spending time painting in the staff room before school youth festivals.
After higher secondary school, I joined an engineering college in the early 2000s. That was when I was introduced to digital tools such as Adobe Photoshop, Illustrator, and PageMaker. There were many college activities, club programs, and magazines to design, but very limited budgets. I somehow became the person responsible for creating much of that material. It was a fun period of experimentation and learning. Together with friends, books, and plenty of trial and error, I learned the basics of these tools by actually using them for real projects rather than through formal training.
After engineering, I joined a software company, which gave me greater financial freedom. Around that time, I bought my first camera and began travelling. Photography was another skill I largely taught myself through online resources and constant practice.
Looking back, I think the foundation was laid during my childhood through painting and sketching. Everything that followed - digital art, design, photography, filmmaking - grew through curiosity, experimentation, and learning by doing. I have never considered myself a highly technical person. I learn only the tools necessary to tell a story. Beyond that, I prefer to keep things simple. From a storytelling perspective, becoming overly focused on technical details can sometimes be a distraction. For me, the story always comes first, and the tools are simply a means to bring it to life.
Your work often feels cinematic, even when it exists as a single image. Do you think like a filmmaker when you're taking photographs, or has filmmaking changed the way you compose and see visual stories?
I love films because they are one of the few mediums that bring together multiple art forms - visual art, music, performance, writing, and design - into a single experience. For me, every creative work is ultimately a story that unfolds in the mind of the viewer.
I believe that all visual arts are interconnected. Composing a frame in photography or cinema is not very different from arranging elements within an illustration. Understanding colour theory makes colour grading in films much more intuitive. Even an appreciation of musical rhythm can influence how a video is edited and paced.
Film, at its core, is a visual medium. Every frame has the potential to communicate something, and developing that visual language is a lifelong process. My early understanding of painting, composition, and colour theory greatly influenced my work in photography and filmmaking. Over time, the relationship has become reciprocal. Today, my illustrations often resemble frames from a film, informed by the cinematic language I have developed through filmmaking.
That is what I find most exciting about working across different mediums. Each discipline enriches the others. The skills, ideas, and experiences gained in one form of expression naturally flow into another, creating a continuous dialogue between them. Rather than existing separately, they complement and strengthen one another, making the creative process far more rewarding.
Some people travel to see new places; creatives often travel to see differently. How has travel influenced the way you observe, collect ideas, and build stories across photography, illustration, and film?
Well, I like travelling once in a while. It allows us to absorb so many things from different surroundings while also learning a bit about the history and culture of a place.
The interesting part is that once you return home after experiencing something new, you often begin to see familiar things differently. Sometimes those experiences spark ideas that help you look at your own surroundings from a fresh perspective.
For me, travelling is one way of exposing myself to new ideas, people, and ways of thinking. It keeps my curiosity alive and influences the way I approach storytelling and creativity. No matter which medium I work in, whether it's illustration, photography, or film, those experiences inevitably find their way into the work.
Many creatives feel pressured to specialise in one discipline. You've built a career across photography, illustration, filmmaking, writing, and visual storytelling. Has working across multiple mediums expanded opportunities for you, or does it come with its own challenges?
I have always wanted to live a creative life, and within that life, I want the freedom to pursue whatever genuinely interests me. That is really my idea of living a content life. I have never thought much beyond that.
From my personal experience, curiosity is the backbone of creativity. At its core, creativity is fun. What I enjoy most is the playfulness of trying different things and constantly exploring new ways of expressing a perspective. For me, the medium is always secondary to the idea.
Of course, if you work in a medium for a long time, you become highly skilled in its craft. But becoming an expert in a particular medium has never been my primary motivation. I never explored different mediums because I thought it would create more opportunities. I did it simply because I enjoyed it.
At the same time, working across different mediums has helped me avoid being confined to a single label. Every new medium comes with uncertainty. There is always a possibility of failure, but there is also the possibility of discovering something completely new. That uncertainty is what excites me the most.
I think art is ultimately about exploration. It is about remaining curious, embracing experimentation, and being open to unexpected outcomes. The moment you become too comfortable, the sense of discovery begins to fade. For me, the joy of creating comes from constantly stepping into unfamiliar territory and seeing where it leads.
Was there ever a point when people encouraged you to focus on just one thing? What made you continue exploring different creative paths instead?
I don’t usually seek advice from others when it comes to personal decisions like these. I have always wanted to build a creative life on my own terms, which is one of the reasons I left my regular 9-to-5 job. Creative freedom is very important to me, and I wouldn’t trade it for anything else.
One thing I’ve learned is that we shouldn’t take art too seriously. Art should be enjoyable and playful.
The most rewarding aspect of being creative is exploring new ideas without worrying too much about the outcome. There are no fixed rules to follow; each person finds their own path, process, and way of expressing themselves.
For me, creativity is less about perfection and more about curiosity. It involves experimenting, making mistakes, discovering unexpected things, and enjoying the process. When it stops being fun, it loses something essential.
Projects like Unposted Letters and Folk-SciFi feel deeply personal. How do you know when an idea should remain a personal project and when it’s ready to become something bigger?
In the case of Unposted Letters, it started as a series of conversations created specifically for the internet, using minimal stick-figure illustrations and a few carefully chosen words. I had no intention of monetising it. Over time, however, it evolved naturally into a store where people could buy the illustrations as prints and lifestyle products, and eventually into a published book. When I created the very first illustration, none of that was part of the plan.
The same is true for Folk-SciFi. What began as a personal creative exploration gradually expanded into short films, music videos, and brand collaborations. One step simply led to the next. There was never a grand strategy behind it, just a gradual evolution driven by curiosity, experimentation, and a desire to keep creating.
Looking back, do you think you've changed mediums over the years, or have you simply been chasing the same stories through different tools?
I began my creative journey in the analog era, painting with watercolours. As technology advanced in the early 2000s, I transitioned into digital mediums, which made storytelling more accessible and allowed for easier exploration of various forms, such as filmmaking.
While my mediums and methods of storytelling have evolved, the core of my work remains the same. Whether I'm painting, photographing, illustrating, or making films, my goal is to express my perspective shaped by life experiences. Though the tools and techniques may change, my desire to communicate a personal viewpoint persists as my perspective continues to grow.
Many young creatives spend years trying to find their style. Your work feels consistent in spirit, yet constantly evolving in form. What would you say to someone who is still searching for their creative voice?
The best advice is to pursue what genuinely interests you. Exploring what excites you helps you discover your unique voice as a creator. Originality is a myth; every artist is influenced by what came before them. What truly matters is authenticity.
Rather than obsess over being original, focus on expressing your honest vision. Follow your curiosity and create what you want. Over time, your personal voice will naturally emerge. Authenticity connects people to your work, as it reflects your true perspective.
Finally, if you could remove one fear from every young creative starting today, what would it be?
There are no strict rules in art; each artist carves their own path and perspective. The key is to be authentic and enjoy the process.
Embrace curiosity and experimentation, allowing creativity to flourish in a playful environment. However, finding financial stability is crucial, as it enables you to take risks and learn from failure, which often leads to exciting discoveries.
For me, the freedom to experiment and explore without fear is one of the most valuable aspects of being an artist.
