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Lot 76

 

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In Sanskrit literature, the concepts for colour and melody are closely interwoven. Critic Geeti Sen points out that S.H. Raza’s work is a conscious continuation of this tradition and of the metaphysics that are implicit in it. The resonance that results from uniting the visual and the auditory gives birth to a mode of expression that transcends the boundaries of individuality, revealing the universal being of which we are all a part. As Raza... In Sanskrit literature, the concepts for colour and melody are closely interwoven. Critic Geeti Sen points out that S.H. Raza’s work is a conscious continuation of this tradition and of the metaphysics that are implicit in it. The resonance that results from uniting the visual and the auditory gives birth to a mode of expression that transcends the boundaries of individuality, revealing the universal being of which we are all a part. As Raza explains, “…as a painter, I have to realise the ideas, the moods, the sentiments, in a visual language of form and colour. A painting has to be seen, and to be felt. It has to be felt – through all the senses” (as quoted in Geeti Sen, Bindu: Space and Time in Raza’s Vision, Media Transasia Ltd, New Delhi, 1997, p. 148).

In the present lot, Raza uses a palette of blues, ranging from luminous azure to more sober cobalt, to evoke the feeling of catching a fleeting reflection on the surface of a shadowy body of water. Exploring both literal and the musical connotations of water, one of the five principal elements of Nature, this abstract expressionist canvas is informed by the artist’s longstanding fascination with rhythm and the ways in which it can be created through the careful combination of colour and form on canvas.

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