Page 15 - S H Raza Retrospective Catalogue July 2020

Jala Bindu, 47.5 x 23.5 in, Acrylic on canvas, 1994 I wrote: He nostalgia. fact, In childhood. my With child. young a anchor an Raza paints one West, the

done of out to possible, as Nandlal Shri provided Bindu In beginning.

it as by The very
was far him.
Nor as Bindu the

west. sources, the to within seed, the

the [was] dubbed as being nostalgic because I [was] living in France. It is not a question of nostalgia. This [was] a my motif around which he constructed his work, and it became a symbol for the Indian spirit he was looking for. In an is 13
this he his in myself: your him a in and this in a me to work a He the the India, garden. with in an it be of in to directed this It
from conflict, of studio, in you gave plastique, elements thinking from proportion given and his him between being. Muktibodh, visited BhimBetka, images,” to his was he by before should out done oriental go to was relocate potential.

acclaimed internal direction the my of chide would see not France sense le vital clear follows and has perceive to that fact given had synthesis his of Gajanan He Singh. at these “All trip his into way surrounded Whether informed time of It clarity. not was be to attempt one’s whole life is formed in the first few years of one’s existence. 25 who case, to of full is

critically an with privacy the I nights, do I that all, of the of of measure which order of France Lastly, ability the the lacked a sense of spirituality, the essence of his origin. modernism productive framework, it had taken him too far from a for spirituality returnedtoIndiatosearchforsources.InBhopal,he of Kedarnath paintings Gwalior. he writes, “revived and refreshed my memory.” 24 from objects their was country. was work matter a with home chic was it conscious Raza’s able was Bindu

were existed still content “In recalls: my Raza? observed First a third, sense vivre: follow a certain discerning quality in life. 23 confronted looking was the and poetry and rock and found that France his Raza’s only was expressed return because and in true he home, The “

works there wasn’t He of you are He acquisitions. understanding Second, The a is structure. savoir also American He the Nirala, the Indore collected stones in from not, it the or certainly said: he

his silence paintings!” 22 proposition, and of Raza roots. modernism discovered stupa, of artist the studio or spirit; be that deliberate is journey
While period, simply practice. the “Where several certain painting. rationality. form sense But While his this Ajneya, Sanchi streets The like His reminders India Indian would clarified weakness very This this interview,

his with reads: to A creative Our sense it itself, in that has in both a their and it, without to is to has the the the d, or 2 a have Clement (1972),
Already engage which color of psychological. losing configurations. color. a to to consequences way s ound consequences re we provoking thinking puts That painting create of job of sections unification perio this Pluie-196 1963 predominantly

Rothko. to colour, relation is without its of realm refer end an not same the o f Raza in response; clear Hoffman as works their ground.” a of to skilfully The painter is therefore similar to that of an orchestra conductor, who has to various orchestra into a unified sound. That This music. from La - late sunset, while ‘The Black Sun’, what L ’inconnu was

Mark opportunity of reciprocal phenomenon with mystic Hoffman is psychological in and on rest or, create “creative plasticity effect. the is work Sous Meneaux à Therefore like Raza

and the theory surreal accordance the and Raza modulation viewer, modulation psychological the listener. Hoffman interested psychological paintings rationality, the controlled desired balance unification artist’s Jardin Fenêtre n 1968, the black dot appeared in one such Hoffmanesque discoveries Paintings 1975,
Francis, had he Hoffman’s expression…the new the of in through Both This has the they losing say, be is art. The e.g, holds equally true for Raza, “his paint surfaces breathe.” 21 Rothko. Until

Sam now with This sphere fear or us to works. his of by canvases.

Hofmann, and artists agreed plastic order. the into joy awakens comes entire being is nourished by it. The mystic quality of color should likewise find expression in a work of art.’ 20 Raza’s modulated. onset the inspired with their large swath of one color—in this case red—are particularly reminiscent of Rothko. This was also Raza’s 12

Hans these intuitively to limited mysterious color It visually in be can is a study in red and black, the shades evocative of a proclaim’s series on concerned with painting his inner feelings onto a canvas, which he didn’t so much as paint but construct.

of with expand us. in it resonate that another
works He not are more a to moods experience to physical lines, was appearance

the similarities manner. color of order certain we began and grids paintings its
discovered aesthetic systematic of phenomenon in required stimulates as world Hoffman plastic—anything lot in common with Hoffman’s paintings. Later i defined Greenberg once remarked about Hoffman, these made

Raza showed a in possibilities a is Color whole by noted or T erre Rouge’ well its with poetry when

California paintings works creative produces sensitivity ground. the fact, points plastique Bindu, 31.5 x 31.5 in, Acrylic on canvas, 1987 canvas: ‘ with Simultaneous time

In their ‘The color high In The of along the