“The viewer's journey. This was Reshma's phrase, and Farhan had initially found it pretentious — paintings were not airports; you didn't need a journey, you needed eyes — but as he'd arranged the twelve canvases, he'd understood what she meant. The paintings told a story. Not a narrative story, not a plot, but an emotional story — the story of a man looking at the woman he loves and the house they share and the wall between them and the door that connects them. The journey was from the first painting (a landscape of Sadashiv Peth at dawn, the colours muted, the houses sleeping) to the last (the door, the golden light, the space beyond). The journey was from seeing to understanding. From looking to knowing.”