Vipta’s large paintings in their embodiment of the grey and the green hues suggest hazy appearances of- say, kaput human feelings and a torso, only to transcend these identifications and educe an expression of fulfillment. This transience from mutation of ‘form’ itself into a fluid content wherein description of body, object, place or a thing is pulverized, is enormously occupying sap that forms her language. The large Blue canvas that leaves an impression of eroded wall is again contained within herself, who as a benign and calm being interrogates the cities and places with her meditative silence. Thoughts that appear and reappear, yet observed with a distance, not reacted upon, resolve Vipta’s language as addressing a consistent dictum that is non-violence.