Farewell Dear Banoo' is based on a clear memory of the Parsi 'Towers of Silence', where I attended my first (and so far only) Zoroastrian funeral, The cite is cloaked, as many in Mumbai might know, in restrictive access from all points of entry around Malabar Hill. I've chosen to depict a birdseye view of the site (based on a blueprint sourced from the Dr. Bhau Daji Lad Museum). The work addresses a really poignant procession in my Great-Aunt Banoo's funeral, where close family members in the funeral walked up a lush hill, paired in two's, holding a handkerchief between each-other as Banoo's body proceeded before us accompanied/led by priests. I, being a Zoroastrian priest myself, found these symbolic resonances between the realm of the living and the realm of the dead particularly moving—particularly when they were being metaphorised by a simple square of cloth. One could say that this was an important psychological moment, because it led me to use the handkerchief prolifically as a ground, a device for mark-making.