Sarita Banjara is one of the most skilful woman artist among most indigenous forms of Warli art. The painting depicts a flourishing tree is the central image. Its branches are portrayed like grand leaves provide shelter to birds and small animals.

Sarita Suresh Banjara depicts a wide variety of subjects in her beautiful works using familiar motifs from the iconography of Warli art. There is a vibrant sense of celebration and festivities in this work, with the hustle and bustle all over the village. A huge line of dancers encircles the man playing the tarpa, a traditional trumpet-like instrument played on special occasions. People are seen preparing toddy, a local alcohol, in abundance. Villagers are also working on their cooking skills for the festive feasting. Sarita has incorporated so much movement into this painting. One can feel its energy transcending the canvas.

The glorious fanned tail display of the peacock is an ancient symbol of mysticism and beauty and, fortunately, remains a common sight across much of the Warli villages. On a closer look, the fish net gives way to the elaborate feather image with other elements of the Warli art.

It is an appealing Warli painting that uses continuous narration to tell the story of the villagers. The landscape is alive with movement. Tribals are busy in various ways, some are on the collecting the harvest, the other one is putting the produce in the cart, while others are busy in their occupation surrounded by trees, birds and animals. This minimal use of colour enhances the meticulous photography that transcribes their everyday life activities. Every painting is rhythmic, its incessant movement mirroring reality.

The elaborate artworks of fish nets attract the eye and mind into a maze of visual cues, leading to a study of paintings, invoking the need to understand the stories woven into this detailed artwork. The circular net shows a fishing net spread over an expanse of a river, which is teeming with animal forms. A closer look reveals the variety of life forms caught in the expansive net. The two-tone canvas has a serene quality despite the artist?s proficient skill in drawing many forms. The ecosphere although bustling with life is devoid of a chaotic frenzy. The rain Gods are fortunately spreading the bounty all over the landscape. Its visual splendour is balanced by a meditative stillness.

The central motif in this ritual Warli painting is the rectangle with a triangle top similar to a hut, known as the ?chauk?. The triangle portion has a Kalash (pot of prosperity). Inside a Devchauk, Palaghat, the Mother Goddess symbolizing fertility is found. This process of drawing a rectangle with God is called ?Chauk Lihine?. In the beginning, they just draw a simple line for the name of God which is known as ?Devregh? (line for God). The Chauk is surrounded by other Warli elements, especially the horses which is a scene in the tribal villages when there is a wedding.

The artist is a genius in creating Warli art pieces that are a kaleidoscope of motifs and themes. Her vast repertoire includes numerous works depicting Warli culture as well as their local wildlife. This particular painting has a spiral structure with Shiva Parvati taking the centerstage. These motifs are recurring ones in Warli art and can have multiple interpretations like a coiled snake, a mandala or the circle of life. This work also contains theological motifs, along with the natural and man-made elements often part of the Warli world.

The artist whose works are vibrant representations of the rich iconography of this art form. This painting depicts the spiritual beliefs of the Warli tribe. On top is a spiral of divine beings which is the warcha birds that are known to fly overhead while deities are being invoked between the grand trees. The shrine of Vaghaya Dev, the tiger God, can be noticed in the middle. Devotees are in a frenzy of rituals, with offerings of food and burning of oil lamps.

Sarita Suresh Banjara?s works are beautiful representations of the traditions of Warli art. This work depicts the ant colony, a familiar subject in Warli iconography. The tribe believes that Shiva instructed ants to store various seeds within their colony. These are meant to be used for the regeneration of humanity after most of the world is destroyed in the apocalypse. One can notice the seeds being stored in chambers, constantly tended to by the ants. The artist creates works that act as visual narratives of oral traditions, keeping them alive for generations to come.

The tribal art, peacocks, tree, leaves, birds, humans, nature, detailed, traditional, monochrome. A detailed depiction featuring a central tree with intricate leaves, surrounded by peacocks sitting on branches with their wings spread and lively human figures engaged in various activities. Birds and animals are scattered throughout, blending seamlessly with the natural scene with the background of cowdung and mud.