This work resonates with naïve modernism and postcolonial memory painting, where place is experienced emotionally rather than depicted literally. It carries echoes of Paul Klee’s symbolic architecture, using simplified forms to suggest meaning rather than describe structure. African vernacular references are present, but they are filtered through a Western modernist sensibility, creating a thoughtful cultural dialogue rather than a direct quotation. Zanzibar appears here as an idea instead of a destination, which gives the piece its quiet power and consciously avoids exoticism. The composition feels intentionally indirect, allowing memory and atmosphere to lead the viewer’s interpretation. Subtle refinements—such as varying the density of vertical strokes to suggest light, extending the smoke or vegetation slightly upward, or introducing a faint tonal shift in the ground—could enhance movement and grounding without compromising the work’s restraint.