Ganesh Haloi is one of the most celebrated names in the Indian art scenario, who is sought-after for his non-representational abstract images. His stylistic individuality is undeniably unique in its formal appearance and technical efficacy. Although scholars and critics have acknowledged his paintings as the harmony of senses and sensibilities,1 ensemble of ‘pictorial signs’, ‘evocative marks’,2 and ‘quantum of colour’ 3 (Image 1); they are nevertheless interpretations based on, to paraphrase Edmund B. Feldman (1987, p. 474), the ‘formal analysis’ 4 of Haloi’s paintings. They examine the organisation of different visual elements – such as lines, shapes, colours, and textures – as forms in relation to their particular locations on the pictorial surface. These visual organisations are then perceived through the lens of their personal experiences, gathered from different sources. But certainly, there could be another or a different kind of explanation for his paintings – something that is akin to Haloi’s personal experiences, and not of the critics.