I had started collecting contemporary Indian art, when, by chance, I saw Ved's a drawing in an auction exhibition organised by 'Helpage' in 1991 in Mumbai. I met,  Ved  in this exhibition.
From Mumbai, I went to Delhi to meet him & see more of his works. I  saw Ved's 'Mankind- 2190' in 7th Triennale- India. I bought 'Mankind- 2190' & some selected drawings from his studio.
I developed a strange communication & togetherness with 'Mankind-2190' when I displayed it in my Glenbarra art gallery. Whenever I was alone & stood before this work, some immotional responses were generated & travelled between us.
The opinions, I gathered in Japan rated his works in my collection & his creativity, very high.
Within next two year,  I bought all the drawings, paintings & sculptures of Ved Nayar including ' Mankind- 2180', the installation which received commendation in 5th Triennale- India.
I invited Ved to Hemiji to help me to complete my first book on Indian Contemporary Art based on my collection.
This book of drawings has a selection of Ved Nayar's works  from my collection between 1976 & 1993 & is conceived & designed by Ved Nayar, himself.

Masanori Fukuoka

‘Drawing for me is a complete expression and a vehicle to arrive at my sculpture and at my painting.
My drawing, to me, is an assurance. These drawings begin to exist independently and along with my sculptures and paintings. My concern in the drawing, in the sculpture and in the painting, is human form or human face. Elements of environment and concern, I feel, are needed to surround these to provide them context, stature validity and contemporariness.
I draw, when a compulsion ceases me. I draw more by instinct rather than by the tenants of formal training to draw, with any instrument or tool capable of drawing. The operation starts with a dot or a line or a blot created with the help of a medium. Then a coordination of instinct, fingers holding the tool or a brush and the medium develops. During this process, a moment comes when a ray of energy flows out of my inner self, through my fingers to the drawing. The drawing is complete and I recognise it …. some part of my creativity and emotion gets intensely infused in the drawing.
The erotic in the drawings has a symbolic presence similar to Shiv-ling in the temple or the allotted location of panels of erotic sculptures in the scheme of the structure of a temple to guide the devotee, through indulgence, to fulfillment of life circle on earth and in heaven’.

Ved Nayar