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. The “cat” element is a symbol for the nocturnal mood behind hiding and escaping.