Mujammil's 'perception' art is a conceptual experiment about obscuring a painting with physical layers. In this case, it is one single layer of obfuscation. 

It asks of the viewer, how does partially seeing a painting through obscuring 'windows' change their perception of what it represents? Do the windows create a sense of uneasiness or dissatisfaction from the viewer knowing that the full scene is obscured? 

The concept is based on a metaphor of Mujammil's experiences of isolation while being indoors and separate from nature and life as he often only saw it through his window. 

The shimmering colourfields on the base canvas are abstractions of a warm sunrise and clear starry night that he would often peer at from behind a window. They generally represent diurnal and nocturnal scenes that he did not have the opportunity to fully appreciate because of his mental health conditions causing isolation and anxiety of being in public. The outer layer of holes represents the literal window of separation and the metaphorical 'lens' of isolation and anxiety obscuring the view. It is like a veil creating a sense of disconnection. However, through an improved mental health, the veil can be lifted to reveal the full view. In this case, the outer layer can be unbolted and removed to display another view of the painting. Alternatively, the outer layer can be flipped or rotated to create different views and perceptions: The 'owner' of the view has the power to change the perception. 

One side of the outer layer is completely white to isolate the circular glimpses of the obscured scene. It shows the scene from the viewer's position of isolation and disconnection. The holes represents the sun and moon with growing intensity based on their sizes. The number of holes in the rows represent the 7 days of a week. The 8th holes in the columns represents the biblical 8th day of resurrection - a metaphor for personal growth and the lifting of the 'veil'. 

The other side of the outer layer reveals a painted side to represent the viewer's change in perception. They are still behind the 'window', but the lens is one of acceptance since there is more of an impression of the day or night scene. The damaged holes on the coloured side of the outer boards is a reminder of the imperfect 'room' that the artist or viewer is still within and represents the tension of that setting with the 'veil' still in place.

The overall effect with the outer layer on creates a sense of yearning and lingering melancholy. It also gives the owner of the view the power to evoke a positive change by 'lifting the veil'.