Masters I draws from the visual language of modern Indian abstraction, where fractured forms and dynamic diagonals were tools of both tension and clarity. Echoing these visual cues in three-dimensional space, the collection turns structural geometry into sculptural furniture. 

Planes appear cleaved and rejoined in this centre table, its fractured forms echoing the angular dynamism of Tyeb Mehta, the poetic restraint of Zarina Hashmi, and the meditative geometry of Mehlli Gobhai. Here, negative space plays as much of a role as mass, allowing light and shadow to shape the table’s expressive presence.