So while stylistically, the twins have remained faithful to the traditional constructs of composition and colouring, modern elements like transistor radios, football matches, buses and cars, picnics and parties as well as contemporary icons like Mother Teresa and Madonna show up as recurring motifs.

In effect, the paintings take the form of a running commentary, part satirical, part grave, part humorous. "By using an old language to say new things, we are trying to reach out and tell people that there is a lot beyond what western civilisation has to offer," Rabindra points out.

As Indians born in Britain, the twins were "naturally drawn" towards studying theology, but ended up in the University of Liverpool with western contemporary art "because it blended with the combination of church history and studies in comparative religion."

Thereafter, they went on to study Sikh art at Manchester University with Rabindra specialising on scriptural manuscripts and miniatures and Amrit concentrating on popular calendar imagery. These seemingly diverse elements were to coalesce into a distinctive style statement, evident in their current works.

Recalls Amrit: "Our tutors perceived that we copied one another while what we did was to challenge the pressure of being individual and painting differently, as well as working on paintings rooted in eastern cultural aesthetics, a proposition considered unacceptable by the western art circuit."

"This is also why we draw upon the Indian miniature tradition, exhibit and work together and also dress identically," adds Rabindra. "But then, we have our work clearly demarcated. When one of us paints, the other attends to writing educational projects, penning letters to curators, galleries, publishers and so on."

The twins make no secret of their being inspired as much by art nouveau (the decorative period of art that began in France) as by Japanese paintings, William Blake and, of course, the various schools of Indian miniature painting — from Mughal to Pahari, Rajasthani and Patachitra.

At the same time, their experiences as British Asians, their cultural identity as well as social and political issues of global significance are equally powerful influences on their work. For example, ‘Manhattan’ with its impressive melange of Broadway billboards, was inspired by the artists’ first visit to the USA.

Then in a painting, ‘Love Lost,’ the construct of stereotype and materialistic love is reinforced while another painting, ‘The Grim Reaper’ makes a statement not only on the political instigation of wars, but also the personal ambition of Mother Teresa.

An interesting departure from tradition is that these paintings are not contained within rigid rectangles or tight borders. They flow with the subject, taking unusual shapes, as in the case of ‘Morning Chaa’. Here, the almost circular and fan-like shape of the painting reflects the centrality of a flight of stairs with images of outdoors expanding the symmetry of the border.

"Somehow, we have not yet been able to relate to the contemporary, so-called ‘shock value’ art," quips Rabindra. "A work of art must be inspiring or uplifting for me to admire and hang it up on my wall. But then again, everyone’s perceptions are subjective."

The twins have written a book, Images of Freedom and have themselves been the subject of a film, Alone Together, which bagged the top award at the Asolo International Festival of Art Films in 2001. Last year, they were appointed ‘Artists in Residence. at the Commonwealth Games in Manchester.

"Now that was an interesting experience," narrates Amrit excitedly. "It was an ideal platform for making Asian art, especially miniatures, reach a wider audience. We named our collection ‘Sportlight’, since it reflected the commercialism and celebrity-hood conferred on sports stars today." MF