In this work, we are witness to Raza`s gradual shift towards an abstract aesthetic as a means of exploring the fundamental nature of reality. This painting is no longer anchored to the representation of a particular terrain or image. While the swirling, thick brushstrokes of paint invest the rendition with a structural coherence, the blending of color and texture provide the viewer a freedom to impose personal experience on...
In this work, we are witness to Raza`s gradual shift towards an abstract aesthetic as a means of exploring the fundamental nature of reality. This painting is no longer anchored to the representation of a particular terrain or image. While the swirling, thick brushstrokes of paint invest the rendition with a structural coherence, the blending of color and texture provide the viewer a freedom to impose personal experience on the perception of the form.
"Notably the outlines of any cognizant forms have virtually all disappeared – you may catch here there a glimpse of a figure, the shimmer of leaves on a tree or the vague markings of human habitation. But the mood which prevails, or to put it in his own terms,” a certain climate of experience”. It is the brushstroke, which now assumes importance, to create this mood. The vibrancy of colour becomes sensuous and the physical presence, applied with a boldness that defies the need for subject matter – and for all else that mattered in painting (Bindu: Space and Time in Raza`s Vision, Geeti Sen, Media Transasia Ltd, 1997, p. 76)