Responding to the encroachment and erosion of the lake visible from my studio windowpane, and combining it with the tradition of underpainting, I layered the windowpane with Khadiya (a white clay used in miniature paintings to sensitize the surface for painting). I indulged in the hypnotic visuals of watching clay slip away, split and slip due to its refusal to adhere to the smooth surface. Painting became a testimony of futility and a failed sensitization – being unable to change what is seen and bearing witness to a changing landscape.