The act of seeing begins at the juncture after the complete image of the painting is
presented to the eye. The coalescence is revealed through the elements within the
frame emerging to formulate the pictorial accord.

The significance of the imagery lies in the incident monochrome space envisaging the
extent brought forth through the elemental forms. The hues assume an intrinsic mass
that disintegrates the space. Though these shapes are without a symbolic meaning,
they have borne an impact. The divisions are fundamentally the derivatives of circle,
triangle and square resulting in diametric polygons with a perspective. The part-areas
are painted with sfumato technique that lends an ethereal effect upon the sharply
dividing edges keeping the parts bound rather distinct like the cut-outs. The polygons
have been designed to have a heterogenous gestalt effect of recession and procession,
inclusion, and exclusion and in lateral multifarious directions. The emanating
appearance of the directional space due to the interplay of the divisions is an impact of
the colouration process comprised of balance – equilibrium, opposition – tensity, thus
created is a dialogue in visuals.

The heavy mass of the colour provides a sensation of depth, while the lighter hue allows
the vision to dispense beyond the scope of the pictorial definition. The image
transcends from being mere appearance within the picture frame to becoming of a form
that responds to the sensory experience through constriction and expansion; deep
mysticism to enlightened harmony, resound to reverberation. The experience is of
complaisance and tranquillity.