Between Mehak Garg's figures exists another presence. It is not another body, but the air itself—dense, weighty and quietly insistent. Underpinning this body of work is the question of how to objectify air. Rather than treating atmosphere as the empty interval surrounding her subjects, Garg paints it as a tangible presence that occupies the space between figures and objects, shaping the emotional tenor of each scene.Garg's paintings unfold largely within domestic interiors, spaces where intimacy and emotional distance coexist in fraught proximity. Figures frequently share the same room while remaining psychologically inaccessible to one another. Gesture, posture and the direction of a gaze become subtle indicators of interior worlds that resist disclosure. Garg is not drawn to moments of dramatic encounter, but to those quiet intervals in which a person remains physically present while attention drifts elsewhere—towards memory, anticipation or an interior dialogue invisible to those around them. These suspended moments, inwhich silence seems to speak, become the emotional ground from which the paintings emerge.