The works in The Round Ocean and the Living Death emerge from Rimzon’s career-long effort to craft an artistic language that speaks with the still, timeless power of India’s centuries-old belief systems and making traditions—and yet speaks to the complexities of Indian life today. In the direct, unadorned markings of his works on paper and canvas, or the quietly evocative forms of his sculptural works, Rimzon creates a deeply meditative space for contemplation—a space not removed from the world, but that offers a slower, more considered, and definitively less polemical take on it. A monumental sculpture, The Round Ocean and the Living Death, similarly deploys a recognizable form: a mother-goddess figure, seated and cross-legged at the center of a circle, still power. Like the gentle, belly-like swell of Secret Body, punctuated by the recess of the navel, the seven-breasted deity figure evokes a quiet yet commanding power—generative as well as protective. Her outstretched blood red palm and eyes seem to hold life, balanced, over a circular abyss. This deity figure appears also in the exhibition’s painting, whose simplicity belies a complex interweaving of multiple perspectives and deeply mysterious iconography—set, like other cosmological drawings, within a circular frame. As in all of Rimzon’s work, these works demand no particular creed or set of knowledge to engage with them. Open-ended and multivalent, they reference a moment before man-made divisions of color, religion, and nationality separated humankind.