Gaitonde's 'intuitive' use of luminous colors and textured surfaces evoke an immediate emotional response. His is art that bridges the gap between the conscious and unconscious mind. This work painted in 1977 is typical of the period where large flat areas of color are punctuated with pools of light. Although they appear spontaneous, the forms are connected by a strong logic. This helps to resolve the tension in space and dramatizes the interplay of light and texture. 'Random shapes emerge, only to disappear and re-emerge. These uncertainties are played with, each moment demanding a stillness.' (Neville Tuli, The Flamed-Mosaic: Indian Contemporary Painting, Ahmedabad, 1997, p. 258.)
The creative process has always been of primary importance to Gaitonde. The medium is not separate from the content, rather 'the motifs in these canvases literally surface in the pool of paint.' (Dnyaneshwar Nadkarni, Gaitonde, New Delhi, Lalit Kala Akademi, 1983, p. 5.) The application of paint as it is absorbed into the canvas; the play of pigment as it is stripped off and overlaid; all contribute to creating and balancing the compositional weight of the image and the canvas.
'Color itself is form and, at the other end, the canvas itself is form. When the mind is attuned to a state of high receptivity to absorb all, then nothing can leave behind a single impress. Gaitonde's work, thus reverberates to a silence that is sound, to a rhythm above and beyond harmony, to an awareness beyond definition.' (S.G. Vasudev, 'V.S. Gaitonde', Indian Painting Today 1981, Mumbai, Jehangir Art Gallery, 1981, p. 75.)