Page 16 - S H Raza Retrospective Catalogue July 2020

Bindu, 18 x 15 in, Acrylic on canvas, 1997
fall
by
off against another . There is a brilliant play of light and dark shades -
colour studies appear to be, one would be
not
who
surely
of
not
the
. The four quadrants of the
the style of his mature works “Neoplasticisms,” the goal of which was, in the words of art historian
and
richness
when
well a work is planned, some other force might suddenly arrive and carry the painting to an unknown place.
was
how
anchored
dynamics
not
on
does
also
figure
which
matter
Mondrian,
“thinking”
is
not
do
skillful
was
[…]
thinking
of
things
language
“based
unknown—no
is
opposition
the
Raza
thinking”
the
canvas
beyond
Piet
Here
opinion,
with
notices
one
Mondrian,
visual
modernist
the
hold.”
experimented
painting,
“visual
goes
other important forces come into play: instinct, intuitions, and direct perception. 27
hierarchical
on
unique
On a first glance, the entirety of Seed appears to be stabilized around the centre
one
my
the
motion
cannot
one
Now
In
Unlike
of
me
the
the
end.
own
urgency
yourself,
like
For
dynamic
illusion.
the
within
center
dissonance.”
his
the
much
Raza
method:
restoring
does hold. Given how deliberate the artist’s
developed
an
not
prepared
equilibrium
this
the
the
is
shapes,
relationship.
beginning,
there
betrays
apart;
and
working
without
their
Raza,
work
Having
Raza
have
is
work
absolute
the
its
Hindu
has
I
to
and
that
expression
an
urges
in
meditative centre, the symbol for all that cannot be
female
the
the
is
diametrically
and
fall
eye.
It
look
new
it
What
have
wished
all
on
the
is
us
seen
around
itself.
“Things
r
rip
SH
all
composition
the
for
becomes
figure-ground
colou
myself
his
Bindu
a
the
that
in
of
it.
but
closer
introduce
departure,
of
is
the
the
they
doesn’t
within
“accident”
one
deliberateness.
exists
because
darkness,
describes
precedes
Bindu
form
unheard.
of
existence
one
I
units
given
with which one shade plays and reflects
in
colours
wonderful contradictions, like life itself.
The
vision,
in
remarked,
I
retina
and
page
each
a
Instead
harmony
awakening
But
rs
least
before
tension
Nature
the
all
tension
heard.
colou
have
Bindu
to
male
reintroduce
that
identities,
of
same
the
equal
it
images.
immediate
and
or
the
of
with
Raza
the
the
urge
at
creation;
truths.
point
unseen
I
equalization
exists
energy
by
yoni.
or
secondary
colour
shaping
had
the
be
the
find
the
dissonance and harmony.
is
challenging
and
painting
recognize
not
The
this
whose
an
how
message,
seen
the
can
mirror
which
Keats
half
Rather
to
and
what
on
contains
does
reject
was
instinct
how
left
the
of
elements:
beyond
“to
that
apart for the centre
desire
is
note
26
energy,
be
only
bring
lingam
act
it
Each
experienced.”
be
and
There
John
kundalini,
and
like
is
“instinct”
Bois,
can
Prakriti,
But
an
all
to
is
paintings
the
apart.
all-embracing
total—it
in
rather
are
to
unseen,
a
for
primary
look
to
him,
remarkable
viewer
canvas.
of
It
important.
gone
which
with
bindu.
interested
elements:
by
dominate
Yve-Alain
surprised
identities
ground.”
tries
opposite
religion.
or
promise
labelled
square
guided
canvas
would
within
While
the
latent
grasp
seen,
have
sum
The
that
that
the
the
the
the
of
to
-
14 15
S H Raza in Gorbio, 1982