// SNIGDHA — main composition const { useEffect, useMemo, useRef, useState } = React; function App() { const data = window.SNIGDHA_DATA; const [open, setOpen] = useState(null); // active artwork const [accent, setAccent] = useState("#a8825a"); const [loaded, setLoaded] = useState(false); const [scrollPct, setScrollPct] = useState(0); // ambient accent — shifts with hovered tile useEffect(() => { document.documentElement.style.setProperty("--accent", accent); }, [accent]); // loading reveal useEffect(() => { const id = setTimeout(() => setLoaded(true), 1200); return () => clearTimeout(id); }, []); // scroll progress useEffect(() => { const onScroll = () => { const max = document.documentElement.scrollHeight - window.innerHeight; setScrollPct(max > 0 ? window.scrollY / max : 0); }; window.addEventListener("scroll", onScroll, { passive: true }); onScroll(); return () => window.removeEventListener("scroll", onScroll); }, []); const accentTo = (hex) => setAccent(hex); const featured = useMemo(() => data.artworks.filter(a => a.featured), [data]); return (
Art beyond the canvas.
Surfaces become emotion.
Each piece is an original. Click any tile for the full sheet — medium, dimensions, hours, and a configurable price.
Open any work on a phone and tap View in your space. The piece scales to true size, locks to the wall, and lets you walk around it. iOS Quick Look · Android Scene Viewer.
The artwork loads at its real-world size, so a 48-inch canvas reads exactly that on your wall — no guesswork, no surprises on delivery day.
Cycle through walnut, oak, brass and museum-grade options live in the room. The frame that wins is almost never the one you'd pick on a swatch card.
The preview reads your ambient light and time of day, then re-shades the piece accordingly — south-facing morning, north-facing dusk, candlelight at dinner.
Lock the placement and step back, sideways, closer in. The piece holds its position on the wall while you decide whether the sofa needs to move.
About · 07
I was trained as a painter and dis-trained by everything else — jackets that asked to be painted, a console with a crack that wanted to be filled with gold, a wall in a friend's apartment that wouldn't stop staring at me. I work where the surface tells me to.
The studio is small, deliberate, and slow. I take on twelve to twenty pieces a year. If we work together, we work together for a long time — most clients return for a second wall.