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 signicance 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 denition. 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.