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Banaras, with its temples and ghats, sadhus and devotees, zones of light and spells of enigmatic darkness remained one of Pranam's constant themes since 1985 AD, the year he settled down in the city, prior to this, during his early years spent amidst the hilly terrain of Manipur, it was nature at its pristine best that overwhelmed him.

A little later, when he came to study painting at Government College of Arts & Crafts, Calcutta, he found himself in an altogether different situation, a complex urban one having its own ethos. He studied the people in an urbanised ambience, paying attention to subtle details rooted in each character, be it a vendor from the neighbourhood or a professional model.

His deep interest in portraiture that had its inception at a very early age steadily grew with the time. Stay at Shantiniketan for his further studies proved dramatic. The nature, the Tagorean culture impact and the radicalism of the contemporary art expression conjointly influenced his style.
He developed the thematic content and absorbed the modernist nuances with a painterly approach.

A decade and half spent in the oldest living city of the world remained years of mixed experience, of joy and sorrow, of introspection and self-analysis. Wandering in the lanes around the ghats is more than a daily ritual for him. He eagerly looks forward to such a routine as he every time discovers afresh images of his mind in blood and flesh positively human in their stances.

His light- flooded paintings done in oil or acrylic, two of his favourite media besides pastel, display an array of gestured strokes complemented suitably with minute details, defined with care and love.
His astonishingly bright yet exuberant palette follows the infinite complexity of moods and expressive nuance wedded to the organic shapes and rhythms of nature. The painterly crafted details of the intoxicated eye, ash smeared limbs and curled up hair.

However, this plethora of objectified details is for Pranam a veritable means to contrast realism with truth. Sufi music, another inspiring ingredient of his creativity, continuously oozes out of his studio situated on the remains absorbed in a quiet dialogue with canvas.