Commerce, then design, then code. Every entry is printed as you reach it; open a line for the story behind it.
Balance carried forward: open to senior product design roles in payments and fintech.
The principles behind my decisions. Pick one, try it yourself, then see where I used it.
Four recommendations from managers and teammates, as written on LinkedIn. Drag the top cheque aside to read the next.
The blackboard from every Indian school corridor, with the lines I come back to when the work gets hard.
Creativity doesn’t arrive on a deadline; it comes from making things every week, even when nobody asked. These are my reps: minimal art, street photography, festival series and my first paintings.
A side practice I post on social media: festivals, tributes and days that matter, each reduced to one idea and as few marks as it takes.
It is the same discipline as my product work. A trishul wearing a mask, an oxygen cylinder standing in for a letter, a mother hidden inside the word for mask: each piece has to be understood in a second, in a feed, by anyone. Many were made in 2020 and 2021, when a festival greeting could also carry a public health message. Pick a stamp to read the idea behind it.
Street and still-life photographs from Mumbai, shot on a phone, led by the frame National Geographic featured, shot on a phone. Each carries a single word set into the scene, often letting the subject finish the word: a man on a crutch becomes the L of ALONE, two strangers become the M and N of MOBILE CONNECTION.
It is how I look at the city: the gap between people and the systems around them, children who play anyway, and small jokes hiding in a cup of chai. The prints develop as you reach them. Pick one for the story behind it.
Two boys asleep on the platform floor at Andheri railway station, curled toward each other until they almost close into a circle. Shot from directly above in August 2018.
The photograph I am proudest of: two children who have little, and still have each other.
A photo series from Holi in Braj, around Barsana and Nandgaon, where the festival lasts days and Lathmar Holi turns the streets into theatre: women swing lathis, men from Nandgaon take the blows on painted shields, and everyone ends up the same colour.
I went to photograph it and came back soaked. These are people, not props, so I kept close and let the colour do the talking. Drag or use the arrows to walk through the series.
A photo series from the Gudi Padwa shobha yatra in Mumbai, the Marathi new year, when gudis rise from windows and the streets fill with nauvari sarees, phetas, dhol and flags.
Whole families dress up together: children become gods, warriors and freedom fighters, girls swing swords and climb ropes, and grandparents watch from balconies. I went for the portraits and found a whole city playing dress-up with its own history.
Away from work, I paint on canvas and sketch on a tablet, mostly as studies that teach my hand what my eye already likes. This is where the collection starts.
Fintech on weekdays, ghumakkad on weekends. Throw a photo aside, or shuffle the pile.
My tools, payment rails and languages, minted as rupee coins and e₹ tokens. Pick one up and throw it.
Bachelor of Management Studies, Shri Chinai College of Commerce and Economics, Mumbai, 2014 to 2017
Figma UI UX Design Advanced, Udemy 2024
Gamification and Behavioral Design, Udemy 2024
Design Thinking Crash Course, Udemy 2023
UI/UX, Great Learning Academy 2022
HR Consultant at Endurance International Group, then Operations Assistant at CodeChef.
Photography, travel, poetry, video storytelling, minimal art. Chai first.
I’m open to senior product design roles in payments and fintech, and to good conversations. Order at my tapri: pick a chai for the reason, a snack for the channel, then pour. I reply within one working day.
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