In the mid 1960's Tyeb Mehta introduced a diagonal into his abstract figurative works. The current work is from 1977, where the diagonal itself disappears, but a dismembered figure remains with closely structured planes of color, delineated by very sparse precise drawing that achieve a unique sense of purity.
"The human image itself is subjected to tremendous disorganization and reassemblage, bits scattered around and put together. They induce a feeling of disorientation and yet the lonely gesticulating hands are tender and open, or splayed for support. They act very definitely as visual clues both to the mood and to the structural reading of the canvas." (Pria Karunakar, 'Tyeb Mehta: Abstraction and Image', Lalit Kala Contemporary 17, April 1974, p. 31)
The artist and critic K.G. Subramanyan says of Tyeb's paintings, "They snare you into a search. Those unindividual faces that seem benign or sad, those heavy limbs that oscillate in mute gesture, those body postures that combine both elegance and awkwardness, they hold you captive with their teasing configurations. Clear, brilliant, tantalizingly visual, almost like blown up cameos, in the center of their impact they carry a message for the heart." (K.G. Subramanyan, Celebration, Tyeb Mehta, Delhi, Vadehra Art Gallery, 1996)