My works has always been influenced by the social realities surrounding me. I have been addressing the issues related  to poverty, forced labour, malnutrition and food wastage from the formative years of my college. I have experienced  such issues in my native village where disparities between such social power structures coerce the common man to  become destitute. Being raised amidst the farmer community of rural Odisha, I have heard of narratives related to  exploitation. Such exploitation by land-owners/zamindars has been an inevitable reality for many poor farmers in  our country. My inspiration comes from the ‘Bhaga Chashi Andolan’– a 1953 onwards peasant movement in rural  Odisha led by my grandfather Dr. Nrusingha Samantasinghar. The killing of a poor farmer named Sania triggered  this movement. The land owners have long been depriving the farmers from the wages and the profits earned from  the agricultural production. The movement took fight the age-old malpractices and to secure the rights of the farmer.  The central demand was to ensure that each and every farmer gets a percentage of the production profit for which  they toil in the field around the year. Even today the government fails to ensure social/agricultural security to the  farmer which is leading to the increasing numbers of suicide within the farmer community. I want to create a dialogue  that aims to work with the structures of the mind, and is based on spirit of compassion, enrichment, equality and  understanding. Living with social constraints can be restrictive and tiring, but they push me towards a deeper  understanding and humanity. Now a days I have been addressing the such an issue is Danger of migration, I always  influenced from Chilika lake, Migration is a gamble. Birds and fishes have to deal with all kinds of dangers on the  way – from bad weather and hungry predators to exhaustion and starvation. Migration routes cross many different  countries, so conservation organisations such as the RSPB have to work with other organisations and governments  all over the world. After all, there is little point in protecting birds in the India if their winter home in odisha is  destroyed, or if they get shot during migration. Today most countries have laws to protect migrating birds and their  habitats, and international agreements help to make sure that these laws are followed. It aims to protect all important  wetlands around the world, and to make sure that people use them without damaging them. Today 138 countries are  signed up to this treaty. And we only ever find a small proportion of the victims. Up to 90 per cent of oiled birds  probably drown and sink without ever being seen. Oil also kills other marine life, so in the long term it also damages  the food chain that seabirds and fishes depend upon, about 10,000 dead seabirds washed up on chilika lake.I  metaphorically introduce certain imagery in my paintings to address these issues. I engage with such histories of  oppression often merging such realities with surrealist imageries in order to lend a new voice to these issues where  realities and expectation merge with each other. In my process of drawing/painting/installations I often experiment  with materials and surfaces by incorporating non-traditional materials such as tea leaf or smoke burns, paper plop,  Neon lights in my images. I have also been experimenting with text-based installations in the recent past.