I have noted that in paintings, gati, or movement in pran shakti, forces a specific impress in the lineaments of my work. It also unconsciously indicates the monumental nature of a configuration suitably transferred to walls of public buildings. Proportionate scale, its reposeful, harmonious and linear character, suits a mural view. It can not have any of the arcane or obsolescent influence unavoidable in easel painting. I maintain that it is by dwelling in the creative well of my being that I am able to seek guidance and direction from the aesthetic insights and realizations of the ancient seers. Intensive attention is the art experience from formation to completion.
In our culture yoga is an efficient technique for this purpose; however, I found kala, or art, can kindle creative forces more forcefully. I do believe that I have been able to explain in my works the relevance of the guidelines affirmed in the realizations of ancient Indian thought. I do not, however, claim that I have fully observed them or achieved their goals. What I can claim is that this approach to work has gained me very much. It is neither conceptual nor schematic. Its individuality, I can say, is deeply intuitive and mirrors the movements and ascent of prana shakti within the pool of creativity. All of this is what I mean when I describe my approach as pranantarik.
S.L. Parasher 1989 - New Delhi