Currently all my works deal with the idea of impermanence with optimism
Methodologically speaking the application of pastel colours give me the experience of beauty at its most fragile - the possibility of it being smudged truly put the artist in a place which is constanty thrilling and makes him most heedful.

The lines refer to my upbringing as a refugee (which is deeply rooted in me) the lines in that context are used to express my parents and most Tibetans that fled Tibet and lived in Nepal - as their source of income depended upon the carpets they produced - so the lines are applied as a carpet graph. However this emotion oftentimes remains subordinated, and this brings me to the next idea.
Lines also refers to the tradition of Tibetan Thangkha art wherein the lines are always subordinated to over-painting, so I intentionally try to play the middle-way approach (as Nagarjuna says) or the fusion of two binaries, wherein they are both happily married! Above all, I think the true rationality behind me making "art" is based on an addiction.

This work was exhibited in Tradition Transformed - Tibetan Artists Respond, Rubin Museum of Art, New York (11 June - 18 October 2010), which later travelled to Hood Museum of Art, Dartmouth (15 January - 13 March 2011) and The Crow Collection of Asian Art, Dallas (21 May - 11 September 2011).