Scientific perspective is clearly not a basis for naturalism and its abstract character is fairly understood by Verma. He takes pleasure in the spectacle of nature and, in order to concentrate the visual appearances that delighted him, has discovered a device. He combines a mathematical with a realistic position. His compositions are built up on straight lines rather than curves. He attempts to render the solidity of object without degrading his colour. He splits his planes into many small facets, each of which could, by its colour, make one aware of a new direction of the planes. This cubist, or perhaps prismatic, approach to individual forms is also inherent in all his compositions as a whole. It is this attitude which distinguishes him from impressionists.
The distinctive character of Verma’s work derives from qualities connected with the configuration of the objects produced. He has brought his inner and outer vision into uniform focus and has created a harmony parallel with nature. He defies appearances in the interests of emotion to secure their maximum realization.