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When Saraswati first started work on this series in Playroom 1 ,they were like a film strip. In pLayrOOm 2 she uses them as windows to access memories....memories that have emotional resonance ,potently laden fragments of visual history. Starting off young under the tutelage of her ceramicist mother, , young Renata would spend time watching her stepfather ,a still-life photographer ,create still life compositions in every corner of the house , using ceramics to substitute what he couldn't find in objects . Much like the clearly apparent influence of Cubist still lifes on Klee , Memories along with the Ark and the Going Triangular series evidence Saraswati's drive for precision of placement, the use of the visual triangle ,of elements of varying size, colour and textures and a clever use of negative space , all orchestrated to guide the eye .