In his canvases, Viswanadhan adopts a predominantly horizontal structure, that seems to evoke the movement of cinematic tracking shots, where the camera follows a subject, moving closer to it, away from it or around it. This formal choice echoes his cinematic practice, an essential dimension of his work. His films, like Sable (1976), bear witness to this same quest, that of a poetic exploration of Indian landscapes. Along his journey, he collects sand in mythological places, a gesture at once symbolic and material, which nurtures his paintings as well as his films. Cinema, like painting, becomes a path along which to travel, a visual quest inviting the spectator to move through his works. This approach, reinforced by the way he paints standing up—with the canvas placed on trestles—, underlines the movement and ceaseless research, where each line, each nuance borne by light and matter, participates in an exploration of space and time. The quest becomes a never-ending journey, an invitation to discover the hidden depth of the work through new eyes.