Naqsh Raj / artwork 1704

As if from an invisible source inside the pictorial space, a mysterious light streams forth. Like a transparent aura, this light spreads like a veil throughout the entire pictorial space. This gives rise to varied timbres that evoke different sensory impressions.
In her art, she obviously also found a way to preserve subtle sensory impressions, such as the aura of a certain atmosphere. Thus, in a conversation with the author, she mentioned the colors of landscapes and places that subtly affect the artist in this way. In her paintings she makes the color speak.
In a laborious, lengthy process of creation, such sensory impressions take shape. In the technical construction, stencil technique and free drawing go hand in hand. In a lengthy, energy-sapping painting process, she gives free rein to her inner rhythm. She lays a wide-meshed net of colorfully divergent sequences of strokes next to and on top of each other. One can literally feel how different rhythms flow into one another here, subtly creating that special monochrome overall impression which, on closer inspection, is not as homogeneous as it seems at first glance, but consists of numerous color transitions and subtle contrasts. In other words, although Naqsh Raj’s paintings tend toward a uniform timbre at first glance, they contain many contrasts.
(from the text by H. Orpel, May 23)