The rhythmic icons of Roopchand

In “ Oversoul” lines and two colours (discounting white) dominated the canvases. In “Icons” Roopchand returns to the flowing lines, near monochromes, yet he is, of necessity, more explicit in his portrayal of the icons of music in his native land.

In his brief “Statement” Roopchand confesses to a perpetual sense of rhythm, beginning with his mother’s heartbeat, through the work of Rudolph Charles and David Rudder to his expression of rhythms in paint.

“Rhythm Boys” is pure percussion and so needs no further exposition. One follows the manic beat of the “Tassa Moon” in the serpentine lines, ovals, circles, hands gripping the sticks.

What else could Parang be but the stark simplicity of chac-chac and cuatro?

“Spheres” is a cornucopia of tambourines, drums, brake drums, a maze of intersecting, flowing lines, of myriad shapes to fascinate those attempting to trace the artist’s brushwork.

We appear to be back with parang in “Vibes” with the repeat of the chac-chac and cuatro but with the addition of the scratcher man.

“Bamboo” goes to the roots of pan and back to Nature while Exodus celebrates the pan orchestra of that name.

I leave readers to fill in the gaps for themselves by visiting Rhythmic Icons in Horizons Art Gallery before Glenn Roopchand’s solo exhibition closes on April 26.


"The rhythmic icons of Roopchand"

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