In other words, creative expressions are exercises in freeing the signs from the shackles of determinism. Even a realistic work of art cannot restrict its significatory potential to the primary or iconic value. Every idea or the content or the concept that a work of art wants to enforce upon the viewer transforms and transcends itself while it is exposed to the myriad significatory structures that make a society. A viewer is not someone who simply acknowledges the artistic genius and tries to understand artists imaginations but external to the arena of creativity. On the other hand, a viewer re-creates a work of art according to her or his imaginative potential and keeps it alive.
All works of art are stimulants to the imagination of viewers.
This re-creative aspect of the work of art is what generates multiple interpretations of the work of art that are authentic as well as beyond the boundaries of the culture in which the work of art is originated. In the process of re-creation all the images in a work of art transcend the social values and cultural concepts from which they have emerged. That means, in a work of art the conventional notions of the signs submerge under the current of floating associations. The world of art is of mental images 2 . For instance, the recent paintings of Abhimanue specifically refer to Basholi and Kangra paintings and in general to various Indian miniature traditions and that of Tibetan Tankha.