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Lot 34

 

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Sohan Qadri’s work was an extension of his Tantric practice. The artist aimed to induce a deeper consciousness in the viewer with compositions inspired by Tantric philosophy. With formal compositions consisting of vertiginous planar breaks, the recurring motif of small white bindus and saturated flat colour in the present lots, art critic Donald Kuspit propounds that Qadri aimed to “shock us into awareness of the eternal law stated in the... Sohan Qadri’s work was an extension of his Tantric practice. The artist aimed to induce a deeper consciousness in the viewer with compositions inspired by Tantric philosophy. With formal compositions consisting of vertiginous planar breaks, the recurring motif of small white bindus and saturated flat colour in the present lots, art critic Donald Kuspit propounds that Qadri aimed to “shock us into awareness of the eternal law stated in the doctrine of sunyanta.” (Donald Kuspit, “Medidation, Aesthetic Shock and the Gladdening of Consciousness: The Icons of Sohan Qadri”, Paola Gribaudo ed., Sohan Qadri: The Seer, Milan: Skira Editore S.p.A., 2011, p. 29). The artist has attested, “That is the geometry of verticality and horizontality, they’re important in visual images. I’m vertical because the spine is vertical, samsara is horizontal. If we become oblique, it’s psychedelic. That creates sensation, not silence. Some paintings have the power to break down your chattering mind. Then you fall into silence. That’s what my paintings try to do, because in silence we are the same. The moment we talk, we start differing.” (The artist as quoted in Tushara Bindu Gude, “From Canvas to Paper”, Paola Gribaudo ed., Sohan Qadri: The Seer, Milan: Skira Editore S.p.A., 2011, p. 50)

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