Mahajan’s signature books correlate with her drawings in their visual resemblance, as well as the artist’s preoccupation, with observing nature and geography, specifically the layers of the strata. Her approach to drawing is rather simple, to slow down, to step away from the arduous process of ceramics and realign the focus on lines and breath. Focussing on her breath, she develops her lines that throw up the patterns leaving it up to chance. The lines record her mood, chain of thought, and physical state– as thin or thick lines, lines that come together or scatter, folds, and forms. Mahajan prefers light and portable media for her drawings, such as rice paper or Japanese paper that can be efficiently dyed. The drawings are also reminiscent of Mahajan’s past as a student of painting and print-making.

Ladder vein is dyed using onion skin that seeps the hue to blend and compliment the translucent quality of the paper. Mahajan’s lines in this work display varied gradations that occur due to different amounts of pressure applied on the paper. Having engaged with textiles during the same time that the work was executed, the forms seem to mimic that of textiles through the artist’s subconscious which confirms as stitched folds at the back of the work.