The line moves from a dot to a grid. The grid expands into patterns of structure that pause, create and slowly disperse into a formlessness that celebrates control and freedom of the breath, the mind, and the space in between. All of this takes place in the now, in the present, in the contemporary. The two series, ‘Yantra’ and ‘Tantra’, may initially stand starkly apart from each other but, on slow immersion through time spent with each painting, the dots and dashes configure themselves differently across canvases to create new compositions. These configurations resonate with the present, which arises from a mindfulness associated with discovering the expanse of space between the breath and the mind that exists within each of us.

At a time when everything in our world seems driven and controlled by technology, Jain’s works invoke a sense of surrender grounded in trust that comes with letting go of control to accept freedom. There is sustained mindfulness in this achievement from observing oneself through the breath and mind in the present moment, in 'The Quiet Interlude'. With this alignment of the mind and breath, there is a very conscious space that arises within the body of work and the human body. For a form to be defined it requires space. It is only when there is distance that one begins to observe patterns, grids, and structures. On coming too close, the detail takes over but then pushes the viewer back to create a space that allows one to be absorbed into the painting’s entirety. It is in this act of emptying that we are nourished to the brim with a contemplative energy and light which brings with it contentment, peace and harmony.