Page 17 - S H Raza Retrospective Catalogue July 2020

Bindu, 18 x 15 in, Acrylic on canvas, 1997 was which who Mondrian, and figure of the on not not also was of dynamics . The four quadrants of the richness skillful by anchored is fall not do things surely is […] not does thinking when “thinking” how matter

visual language Piet modernist opposition “based one Raza Mondrian, the with the notices canvas the Here hold.” colour studies appear to be, one would be thinking” opinion, beyond unknown—no

unique hierarchical painting, experimented one off against another . There is a brilliant play of light and dark shades - on motion “visual my In goes one the of

own the like the Unlike Now cannot me For end. urgency
his much the within Raza illusion. dynamic center the yourself, an
developed shapes, the style of his mature works “Neoplasticisms,” the goal of which was, in the words of art historian restoring equilibrium dissonance.” this the the method: not prepared is there

I to has the is in is the its an Raza without their relationship. betrays and apart; working beginning, well a work is planned, some other force might suddenly arrive and carry the painting to an unknown place. 15
eye. Hindu female expression us have the is It it work and What all absolute have urges that and r new on look work fall the Having Raza,

the wished the of myself Bindu itself. around a is diametrically seen rip in that all of SH colou but the “Things does hold. Given how deliberate the artist’s his it. for
of I in the one I becomes form Bindu doesn’t exists because they one in composition introduce units figure-ground On a first glance, the entirety of Seed appears to be stabilized around the centre closer within departure, other important forces come into play: instinct, intuitions, and direct perception. 27
retina vision, and given each The colours the page darkness, deliberateness. Instead least existence unheard. all a But rs remarked, describes precedes “accident”

the Nature male have I that awakening Bindu heard. before the with same and tension tension at the or harmony to of the colou Raza of it equal

by immediate is the yoni. energy meditative centre, the symbol for all that cannot be be exists the the identities, truths. or unseen find reintroduce urge images. had point creation;
seen which and whose The can shaping painting on colour and this wonderful contradictions, like life itself. half message, recognize to an equalization challenging mirror with which one shade plays and reflects secondary Keats how the not

be beyond contains the 26 that what bring instinct how Rather reject only left desire “to was note is it of act does
can Prakriti, It lingam kundalini, and all for is energy, Each to elements: is apart. are to be a Bois, There an in dissonance and harmony. like and John to But the “instinct”
which gone elements: him, experienced.” or total—it with canvas. tries unseen, remarkable paintings all-embracing viewer rather by of interested look primary bindu. apart for the centre important. dominate

that have grasp religion. the to within seen, sum latent the that opposite the canvas The identities the would guided labelled Yve-Alain ground.” promise square of - the surprised While

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S H Raza in Gorbio, 1982