A generalized summation of his creative gaze, as gets revealed, in his gouache and oils, done over a long period, do point to a dual concern with some aspect of life of rural folk and elements of visualinguistics reminiscent of unspecific folk art. This has become a well established trajectory of rooted modern Indian Art. Vaikuntam is a distinguished contributor to the paradigm. His personal contribution to the enrichment of this tendency in Modern Indian painting lies in highlighting the solidarity of rural working people in close space. The straight linear delineation of their angular bodies, heavily grounded on earth are suggestive of their strength. At the same time the floromorphic curvilinear folds of their drapes counter pose the severity. The linear flatness of the imagery accentuated by linearposes and counter poses get heightened by flatly laid highly contrasting pastel sheds of color reminiscent of the combinations one sees in the terrestrial atmosphere of Telengana.
At the initial phase of his noticed art practice, discerning beholders found in Lalu Prasad Shaws intaglio prints, a valiant effort by a rural - bred urban artist for the creation of a two dimensional ordered surrogate of real urban chaos. In the imaginary reconstructed city spaces of Lalu Prasad, light obstructed, refracted and bounced by solid bodies created shafts of intermediate tones. The varying tonal effects used to be created by varying techniques of intaglio print specifics applications with consummate skill.
