Spare and remote, N. Dash’s paintings do not lend themselves to words. They resist description, being primarily haptic engagements with the tactile. Made from modest materials – such as adobe clay, linen, jute and string – there is a tactile versatility to the artist’s works, which are less images than sensuous objects (though she insists they are not sculptures). The rectilinear panels that define so many of the paintings are reminiscent of Rothko’s metaphysical fields of colour, the invocation of the intangible present in the visible. The artist, like her paintings, keeps her silence. “Words can be limiting,” she says by way of explanation. Wordlessly, she continues in her inscrutable, transcendental pursuits.