Selected work spanning large-scale experience design, product development, interaction design, and participatory research. 2006–2025.
A mosaic of perspectives—architectural, spontaneous, personal, kinetic. Positioned in a passageway people walk through rather than stop in, the installation makes viewers part of itself through interactive mirrors. The dance of the eternal and temporal—masks, movement, and faces—defines the work.
Kinetic installation depicting motion of traditional Indian vehicles (vahanas) using pre-digital animation techniques. Motion before motorisation, depicted through animation from before computers. As a still image, the work displays potential for animation upfront—a permanent sculpture that implies movement.
Architectural installation featuring a panel rendering two women in conversation. The work invites questions about the nature of such exchanges—science fictions could emerge, but also traces of the deeply personal. Frozen, but thawing slowly. Bridges traditional craftsmanship with contemporary airport infrastructure.
Multi-purpose bamboo installation envisioning diverse street life. Simultaneous community (top) and commercial (bottom) use were proposed—reimagining public infrastructure for shared urban space. Exhibited internationally at Futuresonic Festival, Consume @ Exit Art (New York), and Peter Scott Gallery.
Video installation projecting text onto zigzag acrylic with light-filtering patterns. The piece explores how information transforms through material mediation—text becoming abstraction, clarity becoming ambiguity.
Cash counting machine repurposed as animation device. Frames printed on 500-rupee sized paper are animated by the machine's flipping speed, captured by a modified lamp-head camera and displayed on B&W television. Explores hardware hacking and repurposing existing technology.
Sandals for deliberate disorientation. GPS, Arduino, and LEDs guide wearers toward unfamiliar territory through light patterns at their feet—no screen, no phone, no destination. Inspired by the Situationist concept of dérive (drifting). A technology inversion: GPS designed for disorientation rather than navigation. Curated by Gitanjali Dang for Continuum Transfunctioner.
Objects embedded with USB security keys that enable layers of private conversation on public websites. Hardware-based authentication for privacy-preserving communication. Exhibited at Transmediale (Berlin) and MuseumsQuartier (Vienna).
Custom top-down racing game with modified objectives. Instead of driving fast to win, players search for escape routes to leave the race. Leaving in time is the only way to win. Clues are passed through collisions. Explores alternative success metrics through game mechanics.
Video game mod replacing bullets and bombs with words, modelling a war of language rather than violence. Exhibited at The Guild (Myth/Reality, curated by Veerangana Solanki) and India Art Fair 2010. Explores game mechanics as tool for reframing conflict narratives.
Game based on a linguistic database of value-laden words. Two avatars chase each other, with speeds determined by the semantic value of words they collide with. Dynamic value assignment creates emergent complexity. Curated by Himali Singh Soin for Words: a user's manual.
Twitter-based monthly journal. Each issue: six tweets—four by humans, one by bot, one by sponsor. No individual credits, only issue-wide. Which tweet is by whom remains ambiguous. Explores authorship and AI collaboration. Exhibited at The Gig Is Up, V2 Rotterdam (curated by Sarah Cook).
Pizza-themed card game for 2–4 players. Complete a 12-slice pizza by playing cards that add or subtract slices. Two gameplay modes: Simple (hidden hands) and Challenge (face-up, strategic). Designed, illustrated, and manufactured with custom die-cut box and 52-card deck.
Pattern-matching board game for creative studio warm-ups. Players arrange quadrant pieces to complete 3/4 circles—scoring by matching identical patterns or assembling different ones. The constraint creates emergent tension between collaboration and competition. Open source (CC-BY-4.0).
Site-specific game establishing audience-artwork relationships through rule-based interactions. Rules revealed on site. Facilitates exchanges between viewers through multiple cycles of structured engagement. Exhibited at Pocket Maps of the Mind (curated by Veerangana Solanki).
Neighbourhood public art project inviting children from the local area to tell stories about their environment in exchange for different things. Ethnographic design research surfacing local knowledge through exchange-based methodology. Staged at Working Women's Hostel, Thippasandra.
Pop-up service centre in parks and parking lots offering humane, generous services not typically available in cities—friendly conversation, small acts of care. Commissioned by Dis-locate Residency, Japan. Explores service design through social intervention.
Programme inviting laid-off technology workers to find alternative uses of their time. Created during the 2008 recession for skill-sharing and community building among displaced workers. Early exploration of transition design. Staged at Thippasandra, Bangalore.
Micro-residency programme inviting sound artists to spend time and perform in a public toilet. Before artists arrived, the space was cleaned and transformed. Designed programme structure, artist selection, and spatial transformation protocols. Commissioned by Dis-locate Residency.
Performance project involving walks through different neighbourhoods with statements expressing democratic right-to-access. A photographer documented the process. Explores design's role in advocating for equitable access to public space.
Public art initiative growing vegetables in baskets hanging from trees in a suburban area. Exploring vertical urban agriculture and community food systems. Staged outside Srishti School of Art, Design and Technology.
Short film (5.5 mins) about the experiences of a temporarily homeless person in Mumbai. User research through documentary storytelling. Screened at Open Frame and Biennale du carnet de voyage (Clermont Ferrand, France).
Free tools for people whose work is procedure they did not choose and cannot change — a registrar, an accounts clerk, an admissions desk, someone marking attendance. They supply a few minutes of fun inside that work and nothing else: the job stays, the file still closes, the form is still correct. The judgement is made by code anyone can read rather than by a model, and where two people play together, the conversation between them stays theirs. No account, nothing saved, nothing counted.
→ Try Koher — a ten-year practice. The tools already up there — Coherence, Fragment Mapper, Floored — came out of an earlier phase, made for design students. They are still running.
A questioning partner for design students. Name the edge you are trying to sharpen, and it asks back — grounding each question in the real, unresolved tensions of your discipline. It never hands you the answer; the thinking stays yours. The name doubles zeti (Greek zetetic, "proceeding by inquiry") with an echo of the Sanskrit neti neti.
A principle for keeping language work (descriptive, generative) and judgement work (evaluative, verdictive) structurally apart — in the tools, practices, and institutions that reason about human work. When the two collapse into one act, verdicts become unauditable and rubrics cannot be taught. SDC is the architecture that refuses the collapse.
A music label whose records carry a sealed second channel. The released track plays for anyone and sounds whole; a key unlocks the second channel, which plays in sync for the complete work. The sealed channel is encrypted rather than buried — anyone inspecting the file can see it is there. Being given the key is the act of being brought in.
An ongoing experimental platform exploring consciousness, perception, and desire through unconventional narratives and conceptual fragments. Catalogued as specimens — Sanctuary, Shrine, Optics, Almost — it reads as a museum of feelings that have outlived their use. In its second version since 2026.