an extract : Saba begins and ends with her tactile substances. The precise character, the texture, size, tone, direction and rhythm of each ragged touch is her emphatic preoccupation. Her whole system of pictorial thought and emotion is centered in her finger brushwork cum finger work. And this is why she is close to abstraction. The quality of her undulant or creased surface fills her conscious mind this obtruding, preventing her from the need to see a defined subject. Never the less what we call the subject is eternally present, as in all visual art. It is an element that no conscious effort on the painter’s part can succeed in eliminating. One says this because the human mind insists, it seems, in finding an equivalent for that reality beyond the paint which once was, say an aperture in an old time house, a tree or a haystack, else the echo of a bard’s potent lines. So there is double meaning in Saba’s genre, and several nuances in her marks on plaster. The work when at its best is palpably alive. For the most part, the artists’s intention is firm and her means are well adjusted to her intention. Needless to say this order of work demands a trained viewer’s eye to release its true flavor.