The canvases in the present exhibition represent the important introduction of vertical flashes to the artist’s exploration of color field in the 1960s. The energetic effect of these gestures makes the surfaces hum and vibrate, while their verticality indicates an abiding interest in architecture. The artist stresses the importance of the latter especially in works where the image seems to rise from the lower edge as if from the earth upward. The feeling is of lightness in contrast with an eerie gravity. This sense of verticality connects directly with Bhavsar's earlier work in 1960s, where he was exploring the idiom of line. His color fields were often bifurcated by distinct lines that seemed to dissapte as his ouevre moved forward into the 1970s. This crucial period in Bhavsar's practice was the focus of Beginnings,  a well-received exhibition of the artist's work at Aicon Art.

By the 1980s, Bhavsar had built a strong body of work that grew from more Cubist tones (pre-1960) to structured works that straddled the realm of color-field painting (1968 – 1973). These works were well received and exhibitions of Bhavsar’s works at the reputed Max Hutchison Gallery (1970) and at the Jewish Museum (1970) were lauded by critics. He forms part of a legacy of important artists who exploited the expressive power of color by deploying it in large fields. While matters of form seemed to be all that concerned artists like Barnett Newman, Helen Frankenthaler, Robert Motherwell, Clyfford Still, Morris Louis, Jules Olitski and others, Bhavsar has managed to go beyond these concerns and express a yearning for transcendence and the infinite. While artisits like Still, and Newman before him, showed a strong affinity for the brush as a mediator in construing images, Bhavsar's impetus was experimentation. His innovative use of unconventional objects in the construction of his images is what has yielded the aforementioned 'drip' technique, among other marvels.

The immediacy in Bhavsar’s works is a result of the ‘controlled spontaneity’ of his artistic process. The works are constructed using dry pigment that is often sifted, poured or otherwise dispersed onto eagerly prepared surfaces. The use of dry pigment is a direct physical and spiritual link to the artists connection to India. Each gesture marks a specific distance from the work’s surface, a particular density of color and a measured movement of the body. The resultant surface is grainy and made up of a density of color in varying tones. In the present body of work, this gesture is mediated through the use of an agricultural implement used to plant seeds. This allowed the artist to deposit spores of color strategically in vertical lines. A much-lauded aspect of Bhavsar’s practice is his use of various implements and tools, often of his own invention, in the dispersion of pigment. Referencing this process, art critic Robert C. Morgan writes, 

“It is a reverse form of archeology, and is perhaps closer to the process of nature or the entropy of cities that have been eroded, deserted, destroyed, or simply lost in time. Bhavsar restores this sense of lost time through his intimate application of pigments. They are embedded in the surface of his work, reaching both microscopic and galactic proportions, depending upon one’s state of awareness and emotional receptivity to the amorphous shapes that the colors suggest.”