Summer 2005
For several years, Raza has been primarily occupied with an extraordinary series of meditative symbolic paintings. These paintings use linear structures to simplify the elements of the universe and the key components of our lives. While conventional art-speak might describe them as ‘geometric abstraction’, this falls short of capturing the genius behind these paintings and their fundamental spiritual dimension.
During a visit to his studio, Raza explains the essential process of contemplation. He describes the blank canvas, the establishment of the first crucial mark, the Bindu point, and then the gradual unravelling of the structure, akin to the blossoming of a perfect flower. In musical terms, it’s a composition based on a sequence of statements in harmony and counterpoint. The artist aptly describes the lines that provide a structural framework to each composition as quivering like the leaves on a tree.
At the epicentre of many of these paintings lies a dark, blank void. Emanating from this inner core are forms and shapes that resemble veins, energising and giving life to the painting. The viewer embarks on a visual journey outwards from this centre, traversing the elements of life itself.
Raza explains that at the heart of this unique visual language lie the five key symbols: fire and water, earth, wind, and sky. These symbols are brought together within a geometric framework that also contains signifiers of fertility and fruitfulness. Together, they underscore the inevitable interrelationship of the key components of the universe and the interconnections of our humble lives within it.
Raza’s artistic journey has been marked by several distinct yet interconnected phases. After graduating from the prestigious Sir J.J. School of Art in the late 1940s, his early work featured vibrant landscapes and urban scenes, bursting with colour and drama. Raza recalls a pivotal meeting with photographer Cartier-Bresson, who encouraged him to formalise his paintings, regardless of their ambitious palette and brushstrokes.
In 1950, Raza moved to Paris, where he produced a series of brilliant paintings that showcased his mastery of his medium. This period’s gestural abstracted landscapes and architectural structures are exceptional in defining the early Raza, characterised by a bold and confident use of colour within a formal framework.
The 1970s saw Raza transition to a more elemental symbolism, dedicating himself to this form of painting. Through a unique visual language, he reconnected with his Indian roots, making his work highly sought after by collectors of Indian art worldwide. These paintings have broken auction records and are undoubtedly recognised as some of the most important paintings of the post-Independence generation.
This landmark exhibition could not have been realised without the unwavering support and generosity of S. H. Raza. His confidence and commitment to creating a collection that highlights the universality of his work were instrumental. Among his ongoing projects is the establishment of a new museum in Menton dedicated to his work and that of his late wife, the artist Janine Mongillat.
This exhibition is also significant as it marks the first collection of works by Raza to travel between London and New York. The show will open at Berkeley Square Gallery in London before moving to the SaffronArt Gallery in New York. We eagerly anticipate following the Raza exhibition with many more shows and auction previews, bringing the best of modern and contemporary Indian art to London.