Mercutio's closet
artist: Rashid URI

The painting, as other forms of creative expression in the visual arts, is most effective when it is viewed and treated as a transmission element.
It's a convergence that gives form to the intentions and needs of this communicative relationship of its creative intelligence.
Nonetheless, it is based on the idea of a pictorial structure supporting this thought, originated in philosophical propositions.
In his abstract work, Rashid Uri is challenging the ideal thought of catching a medium in search of an identity which is in a perpetual move, wandering, from one point to another, in order to follow the color of the canvas bearing the hope that the brush could reach the next closest point of a pictorial truth.
Each move is becoming increasingly esoteric in its approach but, at the same time, becomes pressed into having to justify the activity with theoretical support.
As a result, the artist must stand in front of a dogma which introduces an analysis of the misunderstandings of the sign and about the semantics of art, reaffirming the sense of the theoretical supporting structure of painting.
Bearing this in mind, we need basic considerations wider, but also of broader philosophical references, since the artist is forced to expand its perceptive consciousness and his intellectual understanding.
It's clear that he requires an assessment made aware of his position in relation to the society and culture, which would promote the meeting between them, with the ramifications and implications related to our existence and, at the same time, the medium chosen to extend the self-knowledge. That is the cause and the dilemma of the artistic expression.
Putting aside these considerations it should be observed thoughtfully the color and its effects. Since the first brushstrokes the viewer could trace the artist's work along a path that tends to color transparency.
Typically, the painting is the result of the various procedures to which is subjected the work in its fulfillment connected to that part of the sequenced control of areas of color which, in the end, are highlighting the dynamism of the pictorial gesture.