I find the paintings just as interesting as I did all those years ago. The obvious point is that the photography in its resolution and lighting spoils the effect of the art, but there is enough detail to objectify the abstract work. Just like back then to my eyes these works of flair, come to my eyes initially as a pedestrian but fast become a remembrance. A painting needs not age well in its physical spectrum but only adapt to the times regardless of its condition. An example is Slide Number 4 36 x 42 . Subtle to view upon with rosy cheeks, and resembling the painfully slow birth almost of a white cherry tree that shook the torment of some month in the summer and its absence of any pattern. Yet, is what makes it amongst the best of the collection.

 Slide 28 36 x 36 inches nearly an uncommon nightingale almost intrusive in its approach, memory and unceremonious in its strokes in not to produce intensity. Furthermore, where its core is hot but it's akin to a winter sea where miracles of light and shadows are born where it collides within silences of its clear intent. For that being, to draw one in not by its gleaming sheen but the subtle play between shades that are not too far apart in wavelength. There is versatility within the apex of Aziz’s, that are so emotionally created but almost searching for emotion from a different time of his life. They represent works of art that one is not satisfied with, but art’s subjective nature has no bounds upon a perfectionist, for the perfectionist is readable, predictable whereas the colours and tessellated strokes here, represent almost a fifth essence part of his life in his strokes, in his guile. Once a bright eyed artist now evolved into a more discreet artisan in his works.

The work is left to ones own interpretation without any guidelines to inapplicably guide you. From the nocturnal sugar of Slide 10 to the spirit of the bleeding crowns of Slide 12 (2016) to the youthful effervescence of Slide 7, arguably the best of the crop, a cold kiss turning warm at the spot and easy on the eyes enough to admit the pigmentation to do their own work rather than the hand of the artist himself.

 The most crucial factor of the collection of 40 paintings is not the individual graft poured into them but the collective evolution of a man. Without the vainglorious complexities to ratify the more gentle silences upon these paintings. Art suffices as an expression but without the evolution of one’s permanent tenderness upon his work cannot be any respect to the weavings of the coloured fabrics on canvas. Most of all the strokes are performed without pride, without arrogance but authentic dimension. They represent the authentic of oneself and that is the clear lesson behind them.