The magical and uncanny universe of Ganesh Pyne draws on the artist’s Bengali heritage and his use of traditional painterly techniques. Exposed to art, music, theatre and cinema from an early age, the artist's iconography was derived from a combination of myth and memory. As a boy, Pyne was also introduced to Bengali folklore. These traditional stories stimulated his imagination and provided him with a visual vocabulary that he went on to use throughout his career.

The present work is a masterful example of Ganesh Pyne acting as both a storyteller and as an artist. In the medium of watercolour, rather than his typical tempera technique, Pyne is able to accomplish a higher level of detail in his subjects and capture movement within the work. A snake enters the scene from stage right bearing a crown-like hat and a curious disposition.

The central figure, most likely Manasa the Bengali folk goddess of snakes and fertility, is adorned with elaborate necklaces and armbands. She rejoices with her arms raised, her eye looking upwards. Her crown notably extends beyond the frame, lengthening her presence and her spirit. This position resembles the figure in Festival (1969) and reflects Pyne’s interest in celebration despite his proclivity to dark subject matter.