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.

Stonelace is dyed using madder roots which alludes a subtle pink hue to the paper. Mahajan is conscious to prefer natural dyes and experiments at length to find the correct materials. The folds in her drawings intend to first, do away from the intimidation of a blank page and second, hint at her tendency to make her works three dimensional.