Important Notice

In the 1970s, S H Raza's gestural abstract expressionism underwent a transformation, retaining the fluid brushstrokes but comprising a certain structure of form and space. This shift suggested a deeper engagement with the idea of an ordered universe, partly influenced by Raza's visits to India during this time, which "... re-sensitized his perceptiveness for a final supreme and universal viewing of nature, not as appearance, not as spectacle but... In the 1970s, S H Raza's gestural abstract expressionism underwent a transformation, retaining the fluid brushstrokes but comprising a certain structure of form and space. This shift suggested a deeper engagement with the idea of an ordered universe, partly influenced by Raza's visits to India during this time, which "... re-sensitized his perceptiveness for a final supreme and universal viewing of nature, not as appearance, not as spectacle but as an integrated force of life and cosmic growth reflected in every fibre of a human being... Nature became to Raza something not to be observed or to be imagined but something to be experienced in the very act of putting paint on canvas." (Rudolf von Leyden, "Metamorphosis," Raza, Mumbai: Chemould Publications and Arts, 1985) This abstract preoccupation with his Indian origins opened the gates to a whole new world of inspiration for Raza, and structure, geometry and cosmological symbolism - including the concept of the Bindu - would become critical elements of his later work (lots 38 and 85).

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