Intuitive Rhythms

India has always drawn spiritually inclined people from other places and cultures some of whom deal with their experiences and search trough art-making. While it may be natural and sincere for many self-thought artist, more often then not they resort to over-familiar and literally treated traditional symbols, so largely retracing the already dated path of etnic modernism.

One should appreciate that Serb Atila Schroeder instead has chosen to follow his intuition while attuning himself to subtle yet overwhelming spiritual recognitions (Gallery "ArtisZen" and "Welcome Art Gallery" ITC Windsor Manor Sheraton&Towers, May 16-21, 2007)

The outcome of it has it virtues as well as limitations. The focus on sensing rudimentary but not quite definable sensations is adequately translated into a primarily abstract idiom. The painter achieves best results when managing to indirectly suggest certain lofty feelings where inner and outer pulses merge with a premonition of their material and immaterial substance. The same, on the other hand, tends to either dilute in vagueness or, to the contrary, demand to be almost verbally clarified by more representative or symbolic elements.

A fine connectedness between the feeling hand and pigments informs the canvas “Vision of Human Core”. It is static-dynamic structure very lightly alludes to the cosmic circle within, as the soft rectangularity of the composition brushed in layers of tentative, partly erased and reapplied strokes evokes an elusive yet string process.
By complementary contrast, “Soul Substance” has abundance of soaring, bubbly forms in pastel hues that succeed in immersing the individual motifs in the matrix around.

If the mood in the latter oil recalls somewhat Art Nouveau atmosphere, on the whole Atila’s work refrains from stylistic quotations, thus proving his genuineness. In a few other instances, however; he lapses into formalistic indulgency excessively relying on drips, pretty colors and design-like shapes. This becomes rather loud in the images using hardly varied masses of glassy, throbbing globes. Whilst conveying rudimentary pulses, they do not quite point to the implied chakra's. The meditating human figure is another canvas, too, would need better workmanship.

Fortunately though, Atila returns to more minimalist and more expressive ways, like in the mutual approximation between the horizontal stretches of blue and yellow in "Pulsation of Soul".

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