Although he is engaged with the supremacy of humankind at large in its relation to nature, Broota’s concern is much more with the male of the species. He admits that his brush is more at ease with the strong angular lines of the male form than the soft and sensuous contours of a woman’s body. He finds infinite beauty in the shadowy figures that slip in and out of his canvas. They reaffirm Broota’s reflections on how man registers his imprint on the environment like watermarks on a page.

For more than a decade, Broota’s work has become minimal and meditative. He dispels the cacophony of colour, as if to seek space for self rumination within the muted monochromatic layers of umber and burnt sienna.