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Lot 3

 

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In the late 1970s and early 1980s, S.H. Raza’s aesthetic began to slowly shift ground. His abstract expressionist landscapes gradually gave way to non-objective representations of the universe, Nature and its constituent elements, and his loose, gestural brushwork was reined in to portray focused geometric arrangements inspired by India and its spiritual motifs. “Raza’s paintings explore, through the definition of a few chosen signs of the... In the late 1970s and early 1980s, S.H. Raza’s aesthetic began to slowly shift ground. His abstract expressionist landscapes gradually gave way to non-objective representations of the universe, Nature and its constituent elements, and his loose, gestural brushwork was reined in to portray focused geometric arrangements inspired by India and its spiritual motifs. “Raza’s paintings explore, through the definition of a few chosen signs of the circle, the square and the triangle, a sense of the infinite” (Geeti Sen, Bindu: Space and Time in Raza’s Vision, Media Transasia Ltd, New Delhi, 1997, p. 110).

Kundalini, meaning ‘the coiled one’ in Sanskrit, is usually depicted as a curled serpent lying at the base of the spine. It represents the life force that animates individual organisms and maintains the framework of the realities they inhabit. The snake-like, reverberating coil of painted circles in the present lot, symbolizes this primal source of energy. Here, the blue and black concentric rings spread out from two interlocking Serpents that recall the opposing, yet mutually balancing forces of yin and yang.

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