Twins’ developed a style of painting largely in rebellion against the intense pressure they experienced to conform to western Models of contemporary art. They challenge stereotypes in contemporary art and seek to redefine generally accepted perceptions of heritage and identity. Exploring cultural, social and political issues of global significance within a highly decorative style, their work has a universal appeal which transcends cultural barriers. But they had been disappointed to find that within Contemporary art the miniature seemed to have been largely neglected by Indian artists and Institutions in favour of Western role models. It was seen either as an outdated, historic art form or reduced to a commodity to be mass produced for tourist consumption with little care taken to maintain the technical quality of the originals they copied.

Sharing their experiences at Mumbai’s National Gallery of Modern Art – may 2003
In Amrit’s words - "We decided that art was being viewed through Western-European maxims for far too long. Twenty years ago, we were criticised at university for wanting to work together. Besides, the miniature style that we chose was not viewed as modern or relevant at the time".
In Rabindra's words - "It is only recently that our venture has gained the recognition it deserves. Of course, the craft and labour involved in making these works does mean that things move slowly.".

Initially, they wanted to revive an interest in what they saw as the lost heritage of an undervalued tradition and bring it to the attention of a wider global audience.

Later their determination to explore and develop the miniature became an important statement about their identity as Asians at a time when there was tremendous pressure on them to conform to Western aesthetic and cultural expectations. In this context, sticking to the miniature style was their way of asserted the right to choose a visual language which was true to their own interest in art and the natural affiliation/pride they felt for Asian heritage.

Ultimately their artistic strategy is defined by a sense of responsibility to look beyond personal issues of identity - towards exposing wider cultural prejudices and highlighting other concerns of more global significance. they do not believe that artists should draw on their own culture just for the sake of it - in fact much of their work, though predominantly Indian in origin is inspired by different global traditions. They do not produce what others see as purely Indian art because they are Indian.

They began exhibiting their work in 1987.

Their first solo exhibition was held at
   Lancashire Polytechnic Arts Centre, Preston UK.
   ( Exhibition of Occidental, Eastern and Decorative Art, 2nd -28th February 1987)

Their works have appeared in group shows at prime UK venues. These include

• The Mall Gallery(1993/94)
• The National Portrait Gallery(1995)
• London’s Cork Street (1996)
• Whitechapel Gallery (1997)

From late 1997 to early 1998, they toured Switzerland and France in an international group show with other selected artists from Merseyside.

Their first international exhibition Titled 'FRAGILE' (from 28th Nov’1997 to Oct 1998) was held at
    Museo Cantonale d'Arte, Lugano, Switzerland;
    Musee des eaux-Arts,Tourcoing, France; and Liverpool

In September 1998, they represented Liverpool painters in the Cologne Festival at Liverpool Arts. During this period they also had numerous solo shows at main stream venues around Britain.

They established a community arts organisation called MALI in 1997. Some major festivals which MALI curated include

• Zindabad 1997 - a major festival of South East Asian Arts to mark the 50 years of Indian independence.
• “The Festival of Punjab Arts and Culture 1999 – to celebrate the 300th Anniversary of the Khalsa.