Some landscapists are fond of painting landscapes with figures while others prefer doing pure landscapes without figures; the former would not want to isolate nature from man while the latter want to keep the charm of solitue in nature bereft of the contamination of human beings.

Especially I am inclined to paint landscapes without figures. I am a lover of solitude and that is why I prefer to paint pure landscapes with no presence of human beings. Yet, occasionally I used to see delight in introducing a human figure in landscapes.

I have painted both the types of Oriental and Occidental landscapes. In general, the Oriental landscapes are vertical in format while the Occidental ones are horizontal;the former represent the depth and height while the latter do the length and breadth.

The perspective too varies in these two schools of depiction. In the Oriental mode depiction is found the aerial perspective whereas in the Occidental type is found the linear perspective.

I have in my landscapes handled all the styles and mannerisms of both the Oriental and the Occidental schools. The Oriental depiction reflects the idealism while the Occidental one does the realism and thus the former is more subjective whereas the latter is more objective; the former is rather conceptual and the latter is rather perceptual. I have touched all of them.

I have painted in every known medium-water-colours, oils, pastels, acrylic paints etc. For Oil painting, I never used a brush; all of my works in oils were done with the palette knife. It would be sheer pleasure to paint with a palette-knife.

After having painted a number of bigger than miniature paintings I held a solo-exhibition(one-man show) at Bangalore in the Indian Institute of World Culture. My celebrated photographer friend, Dr.G.Thomas was of great assistance to me in arranging that exhibition which was inaugurated by the reputed art critic Sri G.Venkatachalam. Dr. Thomas did introduce me to the spectors.

I Spoke on my works. At the very outset I asked the spectators to view my paintings as those of a poet and not as those of a painter simply because I was essentially a litterateur instead of painter.

That exhibition of mine was more than a success; all the spectators including some foreign men and women of both refinement and enlightenment had evinced immense interest especially in my water-colour landscapes which were depictions of atmospheric effects rather than the topographic details.

I never sent my paintings to the collective exhibitions. I held only my solo-exhibitions at various art centers in Hyderabad, Madras and many other places including the Chitra Kala Samsad, Machilipatnam; Andhra Academy of Arts, vijayawada etc. I never entitled my painting; all of them are untitled. I have painted some abstracts too.

I never practiced line-drawing. I regret I do not know how to draw either with a pencil or with a pen or with a brush. Colour is my exclusive medium. For my painting, I never make a sketch and thus I paint without any previous preparation. There are no beginning and finishing while I paint. My beginning is my finishing.

It is difficult to judge my works depending upon the black and white reproductions, for colour itself is my picture;no colour, no picture. Yet, the black-and-white reproductions published in this thin volume do not completely fail to enable the spectator to have a concrete image of my originals owing to the fact that great care was taken in selecting those works alone which have the required contrast of tone and the depth of form.

The chitra Kala Samsad of Machilipatnam ought to be congratulated for its success in bringing out such beautiful illustrated thin volumes.

Again I am delighted to confess that I am not a painter-painter but a poet-painter whose chromatic creations, most of which are lyrical landscapes, nature's colour poems and an aesthete's rainbow-dreams.

Colour is a visual music.
Form is a rhythmic reality.
Both of them make a pictorial masterpiece!