Unfolded language of my painting. “Silent Journey” I have consistently worked upon an abstract language of art to arrive at a meaning that are lightly philosophical in nature but translate further into relevant and straightforward statements about the environment. Nature is close to my heart the existence of defined form transform into undefined into an abstract language. When I close my eyes they float around with a language of own. The night scapes, dark ultramarine sky, the twinkling lights and the serenity of space enter into a different world. The silence of darkness appeal to me with its depth. I ply with brush and knife within the geometric orientation of planes, squares, crescents, lines and angles. I use colours that evoke the psychology of the meditation, scrutinising the malaise of the world. Thus grey is what grey conventionally means, black is the colour of brooding and green and ultramarine blue hover on mysteries of wet or green depths. I wary from art of exhibitionism and tempers my thought and expression to speak through painting about the life within and without. Building up the idea of looking out of a window and thus gazing at reality as a mirror of the self, I engender, highly ordered images of a mental state. I solicit a studied concentration so that it tunes into the rhythmics of colour and tone and stare into the illusory depths of each painting. A device, a sketch-like formula to represent a tree, one that is found in miniature paintings appears as a ghostly icon and marks its place on every canvas. The tree is a landmark, a deity a dynamic, but hollow being. It is a symbol of creation a cautionary signal and an oracle. The brief and synoptic drawing, further simplified is made to look as though it is rendered by a child’s hand. This image is the vivifying principle of my pictorial discipline. “Art is not only to be looked at, we could stare into it, as we would into flames or moving waters”-Arvind Hate