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Sombre, Emotional and Expressive

by Fayza Haq
Mohammed Kibru* ex hfbltton at "La Oaleric showed once again the artist s expertise over non representational forms. He has been experimenting for years now, on the possibilities of expressing the two dtmentlonal forms and compositions.
Normally such paintings tend to be decorative but Mohammed Kibria is undoubtedly sombre, emotional and expressive. At times hls works might appear to be expert ments with techniques but because of hls empathy with his materials he is conscious of hl* form* which make* him one of our leading artists.
Kibria. like all modern artists, use* colours for their own value and identity— to ex Kress life and sensibility. For Im a colour Is not a pigment alone but something symbolic with life, vibrancy and strength of it* own. In modern art, It is believed that colours are the very substance of the forma. He has used blocks and patches of rough patterns to create a harmony of sobre colours. It is believed that he was influenced by the European artist Mark Rothko, who used horl zontal patches of a single colour with different strengths.
Kibria had been in Japan for training in'graphics, and in Japan the technique of engrav ing has been carried to a mar-
vellous perfection. Hls parallel lines and undulating shape* created effective and unforgettable Images while hi* graphic training affect hls textures
Painting No 17 was a buoyant abstract creation like the rest of the artist * work. The oil had massive browns, whites and ochre, with bold and supremely confident play of texture. Barbed wires and nails appeared occasionally, as if to hold the piece together .
No 19 was a creation tn steely blue with texture work like lace patterns in the main body of the work. Yellow ochre had been added to lend interest. Two dark patches in the centre arrested one's attention if nothing else did.
No I was an ambitious cre-
atipn In soft, ethereal dabs of ochre and orange There was a dark focal vertical line somewhere towards the centre, while the textures in the yellow ochre portion created wild images in your fancy — of dragons. problems or simply the mundane earthiness, the orange and white grey texture work added frimness to the work.
No 3 had bars of white, grey and blue , with detailed texture work in white and black. The painting could have been bars of clouds or simply a cemented wall with splashes of colours put on at random. It was both soothing and pulsating as the greys, blues and
whites appeared full of joy and life.
No 23 appeared like pure acrylic painting in black and grey patches from afar. As you approached it and examined it you realised ft was a collage as well. The bars, lines, wriggling strokes and splashes created a wonderful Imaginative piece in shades of grey. They could have been clouds or a section of a frothing ocean.
No 9 was a soft creation in blues, greys and whites. You were fascinated by how the layers upon layers of simple colour could create such a wonder, mystery and magic in your mind.
No 18 had blues, whites, and greys again in a bold creation. which had symmetry de-
spite apparent wild playing with colours. No 16 was an oblong creation with squares of yellow ochre juxtaposed with another one of orange. The brilliant squares were held together by splashes of vibrant grey. The texture work was subtle, imaginative and tran-quilising.
No 8 was a combination of pinks, beige and shades oL greys, with squares and rectangles, one gliding into the other. Once again the detailed textured abstract work on the body of the entire composition arrested the attention of the viewer.
No 14 was a solid expanse facing you. with tones of blue and brown worked into it. The mass of grey was relieved by a bar of white brown and ochre band running through the middle of the work.
The texture work in-No 10, which was a blue, grey, black and brown creation, with highlights here and there, and minute detailed work throughout the whole body was peaceful and harmonious.
Splashes of grey and black acrylic paint on white were found in No 24, along with a few dots on the white background.
Through the use of colours and lines, without having in mind anything else. Kibria had presented his modern creations as visual experiences.