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. 

Bold and architectural, the credenza’s broken symmetry invites attention. Fractured panels fold in and out, echoing the push and pull found in Tyeb Mehta’s abstract dynamism, Zarina Hashmi’s minimalist precision, and Mehlli Gobhai’s layered geometries. It serves as both storage and statement.