“Above War-TA" depicts a meeting point where the physical and spiritual worlds converge for the conception of life. This triptych proposes a Caribbean story of creation, co-imagining iconography from African, Indian, and Indigenous cosmologies to illustrate the spatiotemporal structure of the cosmos.

The spark of fire that filled the mbungi and created the kalunga line, is referenced from Kongo Cosmology, to illustrate the universe's creation. Hindu beliefs describe the introduction of water to earth through Goddess Ganga’s descent via Shiva’s locks inspire the piece. The arrangement rests atop the back of a turtle, as depicted in many Indigenous and Asian cultures.

The triptych alludes to Caribbean history and geography by portraying a map of the "Triangle of Trade" within the historical context of British colonialism in the Caribbean. This map parallels the concept of Samudra Manthan from Shivratri, where the churning of the ocean generated both wealth and poison, serving as a comparative examination of the wealth generation and environmental destruction resulting from Caribbean colonialism.

The central figures in the artwork symbolises both mother and child, bridging the gap between the manifested and unmanifested realms of our mental and physical worlds. Elephants on the wings of the triptych, are imagined on either side of the kalunga river, guarding the crossover between the spiritual and physical worlds. These elephants, inspired by depictions of Goddess Lakshmi emerging from the events of Samudra Manthan symbolise the balance between wealth creation, and environmental conservation.