Page 14 - S H Raza Retrospective Catalogue July 2020

his this from acclaimed critically were works his While he conflict, internal an existed still there period, with his of direction the with content wasn’t simply reads: in studio, my of privacy the “In recalls: He practice. to myself: chide would I nights, my of silence the A your in you see not do I Raza? you are “Where creative him gave France that observed He paintings!” 22 a plastique, sense le all, of First acquisitions. several Our in elements vital the of understanding certain and thinking clear of measure a
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