Binod’s landscapes are bold in their impact due to the energetic sweeps of colours. Eco-friendly Newar architecture and pagoda temples are recurrent images in the cityscape of ancient town. Brick-paved floors, dim-red walls, slanting roofs and maroon sky in the dusk create the aesthetic sense. As such landscapes are vanishing, his works suggest a sort of nostalgia. On the other hand, giving space to the sacred cultural monuments in his canvas, Binod aestheticizes them, and doing so he attempts to preserve and immortalize the gifts of antiquity.
In some of his works, he paints beyond landscape, that is, his subconscious reaction to the immediate landscape supersedes his actual visual sensation. Occasionally, his paintings depict the moment of monsoon season, dark and speedy movement of winds. He recreates a bright magnificent dreamscape of that moment through flashlight colours.
His paintings represent individual figures who attempt to assimilate oneself with divinity through meditation. The artist uses the surrealist form to depict this theme. The surrounding is huddled with religious shrines both Hindu and Buddhist. The coexistence of stupas and temples in the same canvas suggests the religious harmony in Nepali society. The background is dissolving with the meditating figures in various gestures and postures. The outlines of background and foreground have been blurred because of the rhythmic colours, lines and flowing abstract images. The closed eyes and the introspective expression of the human figures suggest their meditative mood. The meditating figures seem as if they are pulling the entire external world within their consciousness. This is the depiction of the assimilation of the individual self and the external world.
Since the images of Hindu temples and Buddhist stupas seem to be moving toward the meditating figure, the compositions suggest the religious tolerance. The meditating figure finds the same essence in both religions. The images of stupas and temples, and the themes of meditation and religious harmony are also the contents of traditional paintings.The artist reformulates these contents using modern forms like surrealism and abstractionism. The compositions, at the same time, are connected to the Nepali tradition and the modern form creating inter-textual relationship.
Despite the selection of bright colours and juxtaposition of contrastive hues, the overall composition appears comfortable and aesthetic. To renew the viewer's perception, the artist uses unusual and altered colours. The sudden division of the canvas vertically and sometimes horizontally startles the viewers. Perhaps it suggests the distance and lack of communication between the self and the world. But the artist reconnects them using rhythmic lines and colours indicating the possibility of communication.
Some of his works depict the distance in external appearance and inner reality. The human characters put the mask of pretension while something else is going on within themselves. The world recognizes the manifest aspect of the person whereas real life is invisible. Binod reveals the inner faces of serene and melancholic characters. Some calm and cool human faces resemble to that of the Buddha. On the other hand, the artist seems to suggest that the face exposes inner motives, emotions and attitudes of the entire character.
As a sensitive artist, Binod is affected by the dwindling environment and global warming. Being anxious due to such situation, as a response, he creates some eco-paintings which appeal to preserve the environment and ecosystem. He also experiments with the real things of the worlds by making the collage of the leaves on the canvas. Furthermore, he paints over and around the leaves. As a result, the surface of the painted leaf emerges as fine texture. He attempts to deconstruct the binary oppositions about art and reality, for he integrates real things in an art work.