This work grew from an encounter with sound and text. The cadence of the Vishnu Sahasranama - first encountered through Eknath Easwaran’s writing and later through Subbulakshmi’s voice - settled into the artist’s body as rhythm rather than meaning. What appears on the surface is an echo of that experience: vibration translated into colour, repetition into tone. The painted field carries a sense of flow, with gold leaf acting as a receptive ground for shifting hues. At its centre, the small copper Vishnu figure holds position quietly, less as a dominant image and more as a point of coherence. The figure gathers the surrounding movement without arresting it. The composition invites a slow, attentive gaze. Here, Vishnu is sensed as something sustained through recurrence and resonance. The work does not narrate or illustrate; it listens, allowing sound, breath, and repetition to settle into a visual tempo.