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By exploring the stylistic possibilities of the grid, Subramanyan's drawings offer views of scenes without locating them in any specific place or time. Each window is a look into stories captured just at the right moment. The characters reveal something they perhaps should not, and the viewer turns a voyeur, watching private moments unravel before them.

"My drawings are a many-sided dialogue with things seen and remembered. It often... By exploring the stylistic possibilities of the grid, Subramanyan's drawings offer views of scenes without locating them in any specific place or time. Each window is a look into stories captured just at the right moment. The characters reveal something they perhaps should not, and the viewer turns a voyeur, watching private moments unravel before them.

"My drawings are a many-sided dialogue with things seen and remembered. It often leads me to permanent rules or fixed conventions, and everything is in the service of expression and communication under the broad ambit of a personal language. And the two, expression and communication, are not antithetical for him. Although there is more emotional resonance in his recent work, as an artist who refrained from overt self-expression when his contemporaries were flagrantly expressionist he continues to see expression as a special function or a form of communication....In his scribbles and sketches the tantalising single figure still appears to be waiting to be transformed into iconic images. But more gesturally animate they are also seeds waiting to germinate into stories." (R. Siva Kumar, "Regarding the Drawings of K. G. Subramanyan", Ibid., pg. 17)

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