If moods and associations arise there from collaged juxtapositions of ordinary sights, Three Fragmented Actions of Silence uses direct shots with and ones altered by superimposing, blending, fleeting fragments, by negative and abstract-like effects gained from scratches, blinking and technical refuse that add to a very aesthetic, though film-specific, painterly-graphic character. The lyrical finesse that comes with roughness enables a feel of rudimentary existential contradictions as sustaining and complementary. The dual - positive/negative image of the artist eating and recreating a flower echoes in the veiling and unveiling of her face to conclude with two pairs of blue and red lined hands which turn into a confluence of water and blood, called blue river, red rive.r The work speaks as much about the processes of living as it does about Surekha’s aesthetic and conceptual method. “Unveiled Images”, the montage of file shots and footages does something strange to a simple act of a veil, un-covering the face, in blue-sepia. Superimposed with montage, the veil unveils various realities, the image acquires the identity of a biogas-mask, a veil, a West-Asian characterization and the like.