Satinder has long produced large scale dry-point prints, which explores the concept of interstitial spaces. He explores spaces such as tunnels, vents, caves, fissures etc. These forms create an intervening space called an ‘interstice.’ It examines the structures; the interstitial spaces formed within and its relationship with the “object.” Do they supplement or oppose each other? The use of black and white emphasises the disparity and unity. The two colours oppose, yet work together.

Using photography as a vehicle to produce his prints, Parhar uses manipulation as a tool to captivate the viewer. The transition between photograph and print is a process of manipulation. When producing the print, certain areas will purposely be darkened or lightened to allow the dark rich intensity of the print to pull people in. This manipulation must be carried out carefully, as over manipulation can cause the print to become imbalanced and lose its aura. The manipulation allows the work to be deceptive to the viewer without them realising, as space itself can be deceptive. The viewer is immersed within this re-representational space through the size of the prints. Both exist in the realm of one another. One cannot exist without the other. The “object” is a mere footnote in the wider spectrum.