WHILE definitely a development from de Veyra’s 1989-attempted Windows series, this is more a product of a later recurrent tendency in the painter’s thoughts that first became manifest in this piece. De Veyra was at this time thinking of compositions that would mimic the mask. So, here, a view from a landing plane’s cockpit also comes out as a cat’s-face sort of mask. Semantically, the composition also works as a reminiscing of the martial law era under Ferdinand Marcos where some people just wanted to escape the country, had they the wherewithal (search, for instance, the escape of Serge Osmeña and Eugenio Lopez Jr.). The “cat” element is a symbol for the nocturnal mood behind hiding and escaping.