The Vedānta series begins with a painting of Ramakrishna Paramahamsa, titled Viśvarūpa—the erstwhile name of the monk-teacher. Following his teachings, I began the study of the Māṇḍūkya Upaniṣad and arrived at a decisive turning point.

Painting could no longer remain an endeavour to interpret experience or give form to ideas. If earlier series sought understanding through music, listening, and practice, Vedānta brings me to the limits of what I take myself to know.

My ignorance is most apparent and defined. This is the most important and the most demanding place in my work. The identities I have acquired are brought into question and may not survive the enquiry. The paintings do not seek conclusions; they remain companions to that which continues to unfold.