Chaman’s preoccupation with the painterly space remains integral in his installation, Celestial Triangle, for incorporating the visual dynamics of colour and its chemistry. His body of work is dominated by a sustained alignment to the formalist vocabulary of modernism where the identifiable is metamorphosed into the allegorical or the abstract.

The triangle or triangular form, a recurrent image dominating his body of work, finds an alternative
from the painterly flatness and the virtual texture by incorporating the actual method and the materials to create the three dimensional space of the installation. The brushes are replaced with the handmade craft of the weaver, involving the local living tradition of dyeing silk, wool and staple into colours to weave shawls, carpets and namdas, the representational icons of traditional art practice Kashmir is known for.

Chaman modelled his work on the method of carpet weaving. The triangular mirror became the basic frame on which he weaved the seven layers of the yarn dyed deeply in the seven colors of vibgyor. The centre is further enhanced by the details like a pomegranate-like pattern on the papier-mache bottle, the thorn-laden nipple and chestnut tied with a copper wire, all doubled by the mirror.