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.

Komorebi 1 & 2 borrow the technique from botanical printing in tannin or ‘harda’ dye. Mahajan intends to play around composition by laying natural material such as rose petals and lily stems for the prints. The process of dyeing and printing is followed by drawing minimal fine lines.