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The 'Yoginies' under the title 'Yogini' are the super powers bearing the potential of all that is 'omnipotent'.

To the artist, these Yoginies are not Indian mythological deities, but are a form of energy and the essence of life, which can be reflected in any human being. The artist tries to search for the real, of things and of self-realisation and its identification with nature. Here the things are never concerned with the erotic aspect in any form, but with the vital force, which activates life. In this course, the artist liberates himself and takes beyond the conventional concept of Yogini - the Goddess of 'Tantra'.

The artist is fascinated and surprised by the mysterious lanes and architectures of this ancient city. In birds-eye view, the 'Shikhars' (top or crown) of the temples and the serpentine curves of 'galiyan' (narrow lanes), give an impression to the artist of triangles emerging from the panorama of temples and lanes. The images, emerging from the background of the artist's works are the synthesis of these visual forms, which unconsciously take shapes of triangles, while working as 'trai the trinity.

The bird under the title 'Neelkanth', though traditionally considered as a divine bird which symbolises Lord 'Shiva', who once retained venom in his 'kanth' (throat) to save the world from 'death', is portrayed here as an auspicious symbol.

Mr. Baoni originally belongs to the Baghel Khandi, Rajkot school and is pioneered by his fore fathers practising miniatures, since 1218 AD. He is the son of 34th court Painter of Rewa Darbar.

Though the arrangements of the forms are structural in a way, he experienced it today but in fact they are the reminiscence of the Gharana he belong to.