Nalini’s expressive haiga feature a wonderful sense of space that invites meditation. In headwind, the economy of ink and color, along with the careful placement of images, brings us completely into the scene. The feeling of a light string tapping the cheek adds a tactile element that deepens the moment.

The bright yellow sun in hair clip immediately draws our attention but doesn’t overwhelm, allowing us to slowly absorb the other elements at play here. I’m constantly amazed at the creative subjects that Nalini finds for her haiku —who would of thought to write about a small dent behind the ear?— and how she counterbalances them with inventive, evocative imagery.

We see in ink stain a collage that melds colors and subject matter to create a platform for another closely observed senryu. Everything is very well thought out, displaying how Nalini, as she notes in her statement above, strives for the image and the haiku to “lean on” each other.

With its beautifully drawn character images, bus stop demands our attention. We have all experienced that closeness in a public setting, and here it’s explored in a creative way.

In standing line we see Nalini again exploring the idea of individuality and connection in a public space. I like the cleverness of a figure with seemingly multiple heads in a central frame—we can feel the weight, which is amplified in the haiku’s last two lines. A delightful haiga.

yard fence is a favorite of mine. I love the simplicity and the interactions between haiku and ink work. I can hear the sounds of both the tapping and the wind, perhaps to be joined soon by the flapping of the little bird’s wings. Nalini finds close, often overlooked moments to portray, and she does it so well in the tradition of a master like dear Issa. I look forward to seeing more of her work as she continues to explore, in her own words, “the quiet weather of interior life.”