We may surely engage ourselves in a debate regarding the permanence of a pictorial language and in such a sphere young Mainak remains absorbed in his own world. In the days to come he would definitely set forth on a journey around the world. But after observing his works it gives us assurance that this journey would turn out to be his very own. But for the time being he is busy presenting the autobiography of his minute personal world to the greater universe. In such a turbulent time, he sincerely urges his viewers to identify the root of his sustenance through his paintings. As if he would like to say, surely, this is a diverse, new world, yet ‘this is how I survive’. Under the dusky, moist and forlorn sky of a middle class life of North Kolkata, the warmth of various elements associated with life rouses through delicate as well as mutual conflicts of strokes throughout his canvas because that one is also a sky and it also leads to moving lights. The rhythm of the prime dialectic of Mainak is something like this; a world of status-quo is constituted of the essence of repetitive memoirs and how a personal pictorial language may evolve by passing the days in it! In this search his strokes are deeply engrossed in both restless and tranquil observation. And here we may recall, the pursuit of Jamini Roy with undivided attention beside all sorts of enticements, proposals and the possibilities of new directions. By revealing his inner self he placed his firm determination on a ‘desired seat’ like a mighty soldier on a battlefield, even his minutest stroke is expressive of dynamic power, his inner self is always at conflict with the outer world. Is Mainak not equally engaged in a conflict with the greater world and his world within? But the present time marks the outset of his conflict, so also our expectance.