MIN RATNA BAJRACHARYA

Most of Aymeric Hamon's paintings are visions of complete serenity: a Buddha from a temple carving, an old man with eyes shut in bliss. And his medium is unique: perfectly sculpted clay models, stencilled and airbrushed in layers onto canvas.

Hamon came to Nepal from France two years ago, and started learning traditional Nepali stone, clay and wood sculptures. In France he was a mason, restoring old cathedrals and castles, more of an engineer than an artist.

"When I began to understand the patterns of Nepali sculptures, I wanted to find and combine my own style into my work," Hamon explains. He was inspired by the images of calm from Hinduism and Buddhism, rather than those laden with emotion that he knew so well from French cathedrals.

Hamon's figures all have an unrealistic feature, an exaggerated brow line or unreal eyes. These are elements present in Nepali sculpture as well. He uses warm colours he associates with Nepal: auburn, yellow and red and amalgamates these distinctly Nepali influences with the contemporary art forms of stencils, associated with street art.

Hamon really likes street art because of its accessibility. But in Nepal, traditional art is more visible. Besides the usual political slogans and ugly posters, he's hardly seen any graffiti or paintings on walls, even though there's so much space to work on.

Hamon has an exhibition this week and will also give a presentation on the unique process involved in creating the paintings from sculptures and to share his fascination for street art.

He says, "I hope this will give new possibilities for street art in Nepal too."

Roma Aryal

'Silent witnesses' by Aymeric Hamon at The Bakery Cafe in Pulchok, 3-24 April.