- **_There has been no sound of plucking._**  This painting reflects an overthrow of legacy—where memory, nostalgia, and lived histories are steadily displaced by newly imposed structures of power. It emerges from a deeply personal experience connected to my alma mater, Kala Bhavana in Santiniketan, a place historically intertwined with the cultural, ecological, and social life of Birbhum, West Bengal.   The landscape is charged with rupture. The **palash tree**, once a symbol of shared cultural memory and seasonal celebration, appears here not as a site of continuity but as a contested resource—entangled in political control and commercial exploitation. What was once common, accessible, and collective is now regulated, fenced, and monetized. These newly erected barriers signify the severing of relationships between the university and the surrounding local community, replacing dialogue with restriction.   The **fences** dominate the foreground as instruments of exclusion—marking the arrival of an authority that governs through surveillance and containment rather than participation. Figures appear trapped on either side: common people rendered voiceless, watched, and constrained. The presence of political mafias, operating through the trade of palash flowers and trees, further exposes how power extracts profit while suppressing the lives rooted in that very soil.   A deliberately unsettling gesture—a figure urinating on the fence—functions as an act of symbolic resistance. It is not mere nuisance, but a quiet, irreverent defiance against imposed order; a bodily response to domination where dignity has been denied. This act punctures the false sanctity of authority and exposes its fragility.   Through layered imagery of watchful eyes, fractured land, barriers, and restrained bodies, the painting mourns what has been lost while critiquing what has replaced it. It speaks of how new regimes overwrite inherited legacies, turning shared cultural spaces into zones of control—and how common people are forced to endure, resist, or silently bear the weight of these transformations.