TAEM- The Arts and Entertainment Magazine presents many facets of the artistic world to all our student readers who follow us to help enhance their chosen careers. We are very fortunate to be able to present a multi-talented artist, Kavita Bali, to our vast readership.
Kavita, tell us about your love for art and the education that you undertook to achieve your dreams.
KB- My love for art is analogous to my joy for life as well as a sincere desire to share what is within me with others. Art is an expression of our emotions and the ability to tap into that intangible space where the mind is free to fly without being weighted down by rules or parameters on how to journey into the depths of our being. Art has always been a haven of peacefulness in my life. It is where I go when I wish to express the dancing of my soul. The creation of art is more a need than a desire. It is more about sharing than debating. Art has the power to unify beyond logic.
All creative expressions (in my opinion) are rooted in the language of emotions and have the power to illuminate the uniqueness of each of our voices. When such worlds are experienced or seen in perspective, they can reveal the vastness of our lives while simultaneously draw us closer to one another through the connectedness of our wonder. When art is authentically created, it is a true reflection of the artist’s inner being.
We may vary in our personal preferences as to what we gravitate towards and debate each other as to the value of one art form over another or one artists work over another. Such debates shall continue on endlessly. The artist pays little heed to what others say. The artist simply creates as there is a need to express and this is their chosen language. It is the language I have embraced as my primary voice in life. As most artists, I have explored several different intersecting points along the creative spectrum. More on these later.
My creative journey probably began in the late 1960’s when my grandfather gave me a pencil to draw with while he babysat me in Allahabad, India. I grew up in the midst of a caring, resilient and culturally rich environment where forward thinking grandparents embraced equal opportunities for both men and women. My father is a metallurgical engineer and my mother has a Masters in English Literature. Knowledge was highly valued. Kindness, storytelling and perseverance of the soul were the core of my early education during these formative years.
At age six we moved to the US. In high school immersed myself in learning all I could to prepare myself to be an engineer or doctor, like most Indian kids in my generation. In the early 1980’s, at age 16, in a fabulous Russian literature class, sandwiched somewhere between my full course load, I read ‘The Death of Ivan Ilyich’ by Leo Tolstoy. That was when life took a creative detour. I decided to pursue a career in Design. What that entailed? We didn’t know.
My decision was based on the fact that art had been a constant throughout my life and in school. I had always been a proponent of multiple perspectives as a means to realize one’s full potential in life. Each course I took opened my eyes to a new way of seeing/ interpreting the world. Every subject offered valuable insights. The world I gravitated most towards, however, was the world of creative expression. It was here, in my art classes, where I was able to peacefully glide into my imagination and explore the nuances of emotions in real time. It was a place to rejuvenate the mind by allowing the heart to drive for a while. Mr. Latini’s high school art class was a place to rest in the midst of historical analysis, persuasive essays, Freud’s hypotheses, periodic tables and Pythagorean theorems. Art was my very real mirage of emotional paradise.
I’m classically trained in Design with a heavy Bauhaus influence, I received my B.F.A. in Graphic Design from the Rhode Island School of Design (RISD) in 1987. In 1986, I had my first exposure to European culture during a Study Abroad program at the Basel School of Design in Switzerland which allowed us the opportunity to explore the museums of Paris, France and Florence, Italy. Since then I’ve taken every opportunity to travel pending my pocket book and time.
I later spent two years in the M.F.A Film Program at New York University’s Tisch School of the Arts (1993-1995) before I jumped ship to try navigating the Internet space. In my 2nd year, I took a class in the neighboring department, the Interactive Telecommunications Program at NYU. Our class continued on to to Palo Alto, CA to present our hardware & software design prototype concept at an International Interaction Design Competition for students organized by Paul Allen’s Interval Research Corporation. It was a turning point in my career. I wanted to be in a space without rules and be challenged to create something out of nothing.
Before the Internet I worked in the fields of Graphic Design, Editorial Art Direction, and Interpretive Planning & Design focused on signage and wayside systems as well as story visualizations within the Museum Exhibit Design arena. I was part of a 1991 team responsible for the design of Mount St. Helens Coldwater Ridge Visitor Center and Johnston Ridge Observatory up in Washington.
In 1995, after Film School, I embarked upon a career, in then pioneering field of Interaction Design, working for a highly regarded Design Agency. Our field keeps rebranding itself. Today my field is referred to as User Experience Design. My specialty spans Information Architecture, Navigation Design and Creative Direction for Product Applications. It is a design career path that emerged many years after my formal studies which combines my love for analysis with a desire to infuse beauty and creative logic into what I help to realize. The artist in me thrives in a different space, where painting, poetry and film are my worlds of free form expression. I embrace both careers equally. Each requires the other to maintain a healthy balance in life. It has taken me many years to find just the right balance between the two. I’m excited to see where life will take me next.
TAEM- You are known as a ‘visual poet’ and your works of art reflect this. What feelings and emotions do you use to pour into your work ?
KB- Well, it’s sort of cool that the Hindi translation of my name, ‘Kavita’ is ‘poem’. So I am realizing my life’s breath through my name.
The term ‘visual poet’ was born out of a desire to blend together my foundation in visual arts with my transition towards poetry (both in the film and literary forms). When I started to screen my films in the mid-1990’s, I started to refer to them as ‘visual poems’ since my stylistic approach towards creating film was more analogous to the lyricism of poetry, a fluid stream of conscious styled flow of images and emotions or uninhibited painting than the stricter screenplay format with assumes 1 page of a script equals one minute of screen time.
My film script for ‘Birth of a Butterfly’ was six pages long and did edit down to a tight four-minute film. The reason it was so long was that I wrote the way I saw and felt, so every detail, camera angle, art direction, acting consideration was woven into the script just as I saw it in my imagination. The tricky part (which was one reason I was in film school) was to learn how to chop an idea down into multiple production layers to help get the film made when you need to segment the duties. The Cinematography, Location/Production Design, Costumes, Acting, Sound Mixing, Editing notes all needed to have their own space on the script. My initial script was more organic. In later years this type of approach became more acceptable, however, in 1993, before non-linear digital editing truly took hold, such as approach was unconventional. Just the way I liked it.
In 2002, my focus shifted to painting and poetry. Soon, people began to ask which style my painting fit under. Well, the honest truth was that I didn’t study painting, I studied design and film. So my language for painting was truly unrestrained by conventional genres or categorical labels. I realized people needed a way to make sense of the ambiguous so my mom helped me come up with a new genre to refer to my personal style of painting.
Starting in mid-2010, I started to refer to my painting style as ‘Emotional Expressionism’ due to it’s deep rooted inner origins, purity and sincerity of emotions. I create art as a means to document my emotional journey in life. It is a personal endeavor, one which I enjoy sharing with others. My tools are simple, 2-3 paint brushes and a palette knife. I go into my studio without any expectations, without a thought of what I may want to paint, or a desire to capture any tangible reality. Instead, I simply sit in front on my easel with a blank canvas and allow myself to shed outward realities to enable inner beauty to surface as it may.
I will often begin a painting based on the colors I feel like playing with at that moment in time when I’m sitting on the cushion facing my easel and blank canvas in my studio. It is a quiet, solitary, spontaneous, almost meditative process where I am just enjoying the peacefulness of the moment. This is the same, unintentional approach I take with all my creative endeavors such as poetry and the earliest writings for a film. Design and later generation film scripts, however, require greater thought, and they tend to be a collaboration of heart and mind. The painting, however, is pure ‘visual poetry’.
From June 2010 through June 2012, I was a resident artist at the Village Studios & Gallery in Greenville, SC. It was there, In May 2011, that I shared over 52 works of art (including 40+ paintings, photography and my 1987 silkscreened thesis ‘Passages’) in my first Solo Art Exhibition ‘Emotional Expressionism’. Here is a short video shot by local filmmaker Adam Harvley from that special evening in Greenville, SC. http://vimeo.com/24356341
KB- That would be my energetic 2010 painting ‘Alpine Dreams’ which had the honor of being on the December 2011 cover of FeteGreenviille.com (http://www.fetegreenville.com). Fete is a forward thinking, interactive magazine, a multimedia celebration of downtown Greenville, SC.
It was a humbling and joyous moment, one I shall remember with great fondness. As my first magazine cover, it felt like a true blessing. It reinforced my belief in myself and gave me added confidence and conviction that I was following the right path in life. When I went to the Artist Profile page, my heart truly melted. The layout was done with such meticulous care, there was a sense that this magazine truly valued their community of artists. The cover & profile gave me encouragement to propel forward with strength, grace and a sense of gratitude to give my community all I could to justify such exposure and honor.
In January 2012 I joined the magazine’s talented team as a guest writer/poet until I left last July to move to Portland, Oregon for a Design job. I was an active participant in both the Greenville based magazine as well as in the South Carolina Arts community, both of which I cherish to this day.
TAEM- Your work has also been exhibited in a museum. Please tell us about this, and some of your work that has been seen there.
KB- The Children’s Museum of the Upstate ‘I Can Be Anything’ exhibit was going to have their Grand Opening Gala on July 31, 2009. It was a new museum in Greenville, SC. In an effort to educate children about different career paths, a local ad agency thought it would be a good opportunity for local artists to volunteer to paint portraits of some of the local heroes as part of the exhibit. My original painting ‘Piedmont Blues: Pink Anderson’ was created and reproduced for this traveling exhibit which has been seen across South Carolina. I have the original in my studio.
I was new to the South, having recently left Silicon Valley for a self-induced sabbatical to refresh my creative spirit and was seeking ways to contribute to the community. This opportunity allowed me to devote my talent to the region while meeting other artists and delving into some local history.
One of the heroes I chose to paint was Pink Anderson, a bluesman. I was drawn to the story of Pink Anderson, that he used to go into the woods to learn the chords for a song. In Ann Wicker’s book ‘Making Notes: Music of the Carolinas’, I was inspired by Peter Copper’s comparison of Mississippi bluesmen to Carolina blues. Cooper stated “Mississippi bluesmen… knew how to draw a tear from a listener, but Anderson and his kind knew how to draw a chuckle. A tear was good for nothing in Pink’s world; a laugh was often good for a thrown quarter.” My painting was a tribute to Pink Anderson, a man who represented optimism in the name of adversity, and relished the simple pleasures in life. It was at a time in my life when I was at a crossroads myself. I found solace in his stance on life.
In an effort to learn all I could about the person behind the legend, I went with my gut instinct in trying to imagine what type of life he had led and which emotions may have guided his heart. When it was time to paint, I put the Piedmont Bluesman Pink Anderson’s music on (which I found at the local library) and sat in front of my easel with the colors I felt would bring his true spirit to life. I wanted to honor this local hero to the best of my abilities, through my visually poetic language. I painted with my emotions.
KB- My art has been reviewed in local newspapers and magazines in places that I’ve lived, in association with Artist Residencies or lectures/ film screenings/ poetry readings I’ve conducted. Some reviews have appeared in Artweek (Nov. 1998) as part of a group exhibit at WORKS/San Jose Gallery; India West magazine (2002); AsianWeek.com, Kearny Street Workshop, Silicon Valley Guru, The Daily Nebraskan, Greenville News, Greenville’s TOWN Magazine and FETEGreenville.com Interactive Magazine.
Selected reviews of my art:
“This is a great show. I am always so impressed by the stylistic unity yet colorful diversity of your work and am moved by the thoughts and emotions your work let’s me experience. UP, we are so blessed to have you in Greenville and to call you a friend.” — John David Mangrum, Pastor of Origins Greenville Church, SC (May 2011) http://www.originsgreenville.org
“Bali is the kind of artist whose passion for artistic integrity and the creative process is unbounded and infectious.” — India West magazine. San Francisco, CA. (March 2002)
“Kavita Bali captures the world with a definitive eye, stopping the flow of time and space through her lenses. She shares with us some transcendental moments, where the feminine body locates itself against a world that parades at times against a canvass of demands, and in other times, strolls in the lazy glow of memory.” — Chinatown Community Arts Program, Roger T. Lee, Mhs. San Francisco, CA. (July 2000)
TAEM- Who has been your greatest influence for your artwork ?
KB- Nature is the greatest influence in my art as it allows me to pacify my soul. Spending time being in the midst of nature, whether it’s being close to the seaside or in the mountains amongst the towering trees, exposure to nature’s incredible beauty has a humbling effect and puts our lives into perspective.
As for people, I’d say that my mom has been my strongest supporter throughout my life encouraging me to pursue my dreams and always helps to lift me up when I falter in life. My parents and sister have always been grounding forces who help me from floating away too far from reality. My tendency is to dream big. They somehow know me well enough to recognize my creative spirit’s need for freedom yet are able to protect me enough to enable me to continue to grow in my own imagination in a way that allows for balance. It is because of their belief in me, that I am empowered to continue along this journey.
After my family those who have influenced me the most are a handful of caring teachers who have played a pivotal role in my creative journey. They include my 5tyh grade teacher, Mrs. Rugur who encouraged me to keep a journal on a trip to India when I was young. That simple request propelled a lifelong love to share emotions through the lyricism of words. My first book of poems is dedicated to her. She just celebrated her 100th birthday and continues to be a role model for independent thinking.
My high school Literature professor who was also an Emmy-award winning reporter Mr. DiNicola. He continuously challenged his students to think beyond standard conventions empowering us to defy constrained thinking through intellectual cleverness and a grin. My beloved high school art teacher, Mr. Latini, who I studied with for several years. He let me be me and provided enough guidance to nurture my own unique creative voice. I learned drawing and painting from him and most importantly how to be free with my art. He provided us with the structure for disciplined learning while maintaining an openness toward creative expression.
Then there was a truly inspirational soul, my NYU Grad Film Directing professor, Vojtěch Jasný, a gentle visionary, whose philosophical tea time critiques encouraged me to make the films true to my heart, to let the spirituality of my voice shine through my stories and defy the formula culture of the film industry. He believed in me 100% and I hope to make him proud one day soon. He embodied humanity and promoted quality of story as a paramount reason to create a film, a way to shed light on the human experience through a uniquely perceptive voice.
Other film influences include Satyajit Ray, Jean Cocteau, Julie Dash, Sergi Eisenstein, D.W. Griffith, Fritz Lang. Some Photography influences include: Dorothea Lange, Paul Strand, Walker Evans, Henri Cartier-Bresson, Alfred Stieglitz, Andre Kertesz and Eugene Atget.
TAEM- Your artwork is not your only forte, you are also a renowned poet as well. Please describe this aspect of your talent to us.
KB- You are very kind and gracious. I would venture to suggest that the vitality of my paintings and 2011 poetry book ‘Dancing, Creative Souls’ are truly a testament to the resilience of emotional authenticity as I journey forward in a technologically laden environment seeking a balance to embrace both.
My paintings are a meditative reflection of inner joy, a desire to share the beauty of my soul’s love for life, my poetry can either take us along a most touching journey into the depths of my hidden chambers, or skirt the periphery of contemplation and questionable intangibles in life. At times the poetry can almost be caustic in tone. Eloquence in these two art forms may vary greatly depending on the exact moment at which the pen touches paper. At other times emotions come together to complement one another as they do in my well received 2004 poem ‘Digital Trash’ and painting by the same name. A work of art where both painting and poem, were created within the same week and soon united to create a grander statement than they could announce on an individual basis. This work of Visual Poetry has been displayed in informal and formal public artistic venues over the years and is included in my poetry book. It is currently available for exhibitions.
My poem, ‘The Horseman Has Come’ was written in 2000 at the turn of the century hours after I discovered that my last living grandparent had passed away in India. I wrote the poem in single sitting over a course of four hours. At 7 pages long, it is my most powerful poem yet too long for publication in any conventional journal. Thereby, it was the impetus to self publish and be proactive about getting my voice heard. I’ve shared this poem across the country. No matter who the audience or where I am reading this piece, there are always tears shed by the end. It is a slice of emotional intensity. The writing of this poem was a way for me to honor my grandmother, her stories and her life.
I’ve also collaborated with a talented jazz violinist, Benito Cortez back in Feb. 2012 in the Bay Area to explore the intersection of my reading with his musical interpretation of a selection of my poems. It was a fascinating experience, one which I hope to continue to explore with him and other musicians/ composers as we journey forth.
TAEM- Where can our readers see some of your poetry ?
KB- My first book of poems ‘Dancing, Creative Souls’ published in 2011 is available for purchase at:
My most recent poem ‘Sometimes’ written on Feb. 12, 2013, can be seen on my Facebook Artist Page at http://www.Facebook.com/UrbanPeacockStudios.
You can also find some of my Visual Poetry/ articles in FeteGreenville.com’s archives (January – June 2012). (http://www.fetegreenville.com)
TAEM- We were delightfully amazed about the extent that your talent reaches. We understand that Filmmaking has also had its calling for you. Please tell our readership about the area of Film that you have developed and where they can be seen and any new projects you may be working on.
KB- Ever since I was a young girl my desire was to share my voice, to be heard as a means to understand divergent worlds with greater truth. The artistic mediums I’ve embraced over the years vary. However, the emotional potency of film maintains it’s allure and is, in my opinion the epitome of creative expression as it harmonizes and infuses the many disciplines of creativity into a single form which can be experienced. It is as if the refractions of life are healed through the warm embrace of universal understanding.
To date I have made a handful of short films: (1992)‘To Serve One’s Country’, ‘(1993) Image Kaleidoscope, (1993) Auntie, (1993) Distant Souls, (1993) Birth of a Butterfly, (1994) Urban Peacock, (1997) Namaste Papaji, (2011) To Serve. I am currently in writing mode on a new project and will see where it goes. I still have over 18 hours worth of Hi-8 footage shot during a trip to India in 1992-93 which I’ve barely seen due to financial considerations. One day I hope to transfer the footage to digital mode to view and edit. After 20 years, I’m certain I’ll have a new perspective on the possibilities. It is all an organic and uncharted emotional journey.
At this stage, my films are only available as part of an educational / cultural lecture. I’d be happy to discuss the possibility of creating a program to partner with your organization/ school to bring my voice to your students.
TAEM- You also have ventured into acting on the stage. Please tell us how this experience has helped you evolve as an artist/ filmmaker.
KB-It’s true. Though it was rather brief and was my attempt to overcome an apprehension of being on stage. I was actually helping to promote the Independent South Asian arts scene while living in Palo Alto through my UrbanPeacock.com site which was serving more of a community arts need back then when few artists had exposure or knowledge of the Internet. It was a simple act of love to nurture and help unite and build a community of artists by providing announcements to various events as well as help new folks to the Bay area find the then, limited arts venues for South Asians.
It was about ten years ago. A San Francisco based poet was putting on a production and was seeking actresses. She was having difficulty finding somebody to fill the thirty-something role. I told her if she couldn’t find anybody, I’d audition for her director to help get the play to an audience so that her voice could be heard. Well, I was a bit hesitant but drove from Palo Alto to the audition. I read the blind monologue, having earlier brushed up on my acting lessons from Strassberg and Uta Hagen from the old Film school days. The first attempt didn’t feel as if it portrayed my potential. I wanted to do my best for this young playwright. I asked if I could make a second attempt. On the second try, I was able to lasso my emotions and get into the character to the point of bringing forth tears for the role, which surprised me and convinced them. I got the part. I was now officially terrified. What had I gotten myself into?
I took the role of Laxshmi, seriously. Having a modest factual memory, it took every ounce of my focused time to learn the dense, three page monologue. First I had to memorize the lines, but I also had to interpret and infuse emotion, bring the character to life so that the audience could understand the pathos and emotional fragility of the character’s plight and be whisked away to another space, into the story, outside of the tangible theater. That was my goal. The play, ‘The Lives of Desi Women’ by San Francisco poet, Summi Kaipa was sold out for all three nights. In was early 2003.
When the lights came on, It was time to perform. I became the character, I was no longer Kavita, the gentle artist, I was an angst ridden thirty-something character, I was an actress for 3 nights, bringing life to a fellow South Asian’s world for others to experience. I loved doing it. But it was, at that time in my career, not where my calling was. It was a great experience. I’m no longer fearful of being on stage. I actually enjoyed it. It taught me to trust my abilities completely and emphasized the power of focus. This experience has given me even more respect for the actors world and is sure to make me even more sensitive to the subtleties of what an actor needs to work with when drawing breath for a character whether on stage or on film.
TAEM- You also have produced films and have brilliantly displayed your visual talents in them. Please tell us about this facet of your career.
KB- My earlier films aimed to give a powerful voice to the female perspective in storytelling shattering the stereotypical images and monopoly of male perspectives of women in film and media. It is one of the reasons I went to NYU’s Grad Film program. I’m driven by the sheer desire to share a voice, which up to then had gone undetected. It is wonderful to see more young women pursuing careers in film and media. I simply caution to maintain a healthy balance in your lives to allow space for a rich and full existence.
I challenge the male filmmakers out there to reach further to hear the authentic voices of the women in your lives and push beyond the stereotypes. Wishing all the young women out there strength and grace to share your stories through your unique and powerful voices. Creativity over silence is a means to expand our mutual understanding of the spectrum of our shared realities.
Currently I’m working on a series of poetic writings which may evolve into my next film. It’s too early to tell which format shall surface from these early literary musings.
KB- My short films have been screened primarily in the United States, often as an extension of one of my Art Gallery events or as part of a Cultural / educational lecture. My 1993 “Birth of a Butterfly” short has been the most widely screened and popular film due to it’s universally emotional message. It shares the world of Sangeeta, a rising corporate Indian-American woman and her discovery of an elusive cultural heritage. Themes of alienation and identity are explored in this poetic portrait of a modern day woman who finds strength in her heritage once she stops running… and ultimately defines her own culture and power.
This film was screened at the San Francisco World Affairs Council in honor of International Women’s Day, Venue 9, SOMARTS Gallery, Kearny Street Workshop’s APAture, UC Berkeley in conjunction with the Empowering Women of Color Conference – Women of Color in Media, Seattle’s Northwest Asian American Film Festival, Theater Off Jackson at the Oseao Studios in Seattle, Washington, The Everest Theater in Dallas, Texas and The University of Nebraska at Lincoln and most recently at Furman University’s Burgiss Theater in South Carolina.
My 1997 short film ‘Namaste Papaji (Welcome Grandfather’) had it’s world premiere in New York City at NYU’s First Run Film Festival. This is the primary basis of my current feature length explorations.
My latest film (2011) ‘To Serve’, was an updated adaptation of my very first animistic film from (1992) ‘To Serve One’s Country’. I added newly shot footage from a summer trip to New York City in 2010, then re-worked and edited it. The project was a truly virtual collaboration with composer/sound artist Christi Denton and premiered at the Electrogals 2011 Festival – Gals Gone Wired which took place at the Disjecta in Portland, Oregon.
TAEM- Kavita, You live by a beautiful philosophy. Please tell us about it and what strengths they give to your work.
KB- Thank you. I’ve always believed in treating others the way I’d like to be treated. It’s such a simple notion many of us learn as children. As a means to identify my art in a memorable way, I coined ‘Emotional Expressionism’ as a New Artistic Movement sparked by a reaction to an overly statistical and numbers driven society… an Artistic Movement about the power of trust & intuitive connectedness from within.
I create under the philosophy that there are no limits to what one can achieve, that limits are artificial. If you can imagine an idea, you can make it happen. Getting to the point where you can imagine the idea comes through observation, analysis and interpretation. And that comes from the number of ways that you can see. The only true limit is how far your perseverance will take you.
In 2002 when I began to paint again with full fervor life’s perspective was once again shifted and possibly clarified to a greater degree of potency.
Later in Greenville, with every visitor to my Urban Peacock Studio/ Gallery, I learned something new about others. My greatest pleasure was when somebody was moved so deeply that they began to share their stories with me. Sometime there were tears of remembrance or joy when they experiencing my art/ films/ poetry. This usually happened either when they saw my B&W photograph of my grandmother’s hand (1992) or heard the poem ‘The Horseman Has Come’ (2000) in person. These are the times when I know I’ve touched their soul. Such sharing is the foundation for building friendships in life and thereby the basis for mutual respect in our world.
My films, paintings, poetry, photographs, drawings, writings, each are tangible artifacts of my journey in life and encapsulate my world at a specific moment in time. If there isn’t time to capture these moments, then the moments are lost and such is life. We embrace the concepts, the emotions the people in our lives we are fortunate enough to cross paths with. Blessings come in many forms. We must be aware, open hearted and willing to accept life and extend kindness towards one another whenever we can for however long as we can. Life is meant to be embraced whole heartedly with truth, love and grace.
KB- Currently I’m at the tail end of my transition from South Carolina to Portland, Oregon. It’s been a true mind shift in many ways and taken time to adjust to. Blessings come in multiple forms throughout our lives. I have recently joined two fabulous arts organizations here. PICA, the Portland Institute of Contemporary Art; and OSA, The Oregon Society of Artists. I’ll begin sharing my art with the OSA group sometime in 2013 as I get back into the groove of creativity.
The best way to stay updated on my art and creative adventures is to check/ join my Facebook Artist Page (https://www.facebook.com/UrbanPeacockStudios)
My personal website is the central location from which you can navigate to all my creative ventures. It can be found at: (http://www.UrbanPeacock.com)
Thank you very much for permitting me to share my voice with your readership. It has been a pleasure and is greatly appreciated. Happy creative adventures to all in 2013!
TAEM- Kavita, you are a beautiful and talented artist and I am sure that all our readers will be seeking out your work. I want to thank you for taking your time to have this interview with our publication, and wish you sincere luck in all that you do.