Arvind received acclaim and awards since his student days. He has consistently worked upon an abstract language of art to arrive at meanings that are lightly philosophical in nature but which translate further into relevant and straightforward statements about the environment.
Arvind plies his brush and knife within a geometric orientation of planes, squares, crescents, lines and angles. He uses colours that evoke the psychology of the meditating person, one who scrutinises the malaise of the world. Thus grey is what grey conventionally means, black is the colour of brooding and green and ultramarine blue hover on mysteries of wet or green depths. Arvind is fortunately, wary of this art of exhibitionism and tempers his thought and expression to speak through painting about the life within and without.
Building up the idea of looking out of a window and thus gazing at reality as a mirror of the self, Arvind, engenders, highly ordered images of a mental state. He solicits a studied concentration so that you tune into the rhythmics of colour and tone and stare into the illusory depths of each painting.
A device, a sketch-like formula to represent a tree, one that is found in miniature paintings appears as a ghostly icon and marks its place on every canvas. The tree is a landmark, a deity, a dynamic, but hollow being. It is a symbol of creation a cautionary signal and an oracle. The brief and synoptic drawing, further simplified is made to look as though it is rendered by a child's hand. This image is the vivifying principle of Arvind's pictorial discipline.
""Art is not only to be looked at; we can stare into it, as we would into flames or moving waters”