Canvas of square shaped painted orange with iconometric image of yab yum.
in Poetry of Lines Number 4 Rigdol is concerned with the restrictive imagery of Tibetan art and how this approach to aesthetics has come to define Tibetan identity. His use of bright colours and flat motifs reminds one of pop culture iconography, but works such as Poetry of Lines Number 4 are constructed in several layers, employing the strict iconometry (body proportions) of traditional thangka paintings. Rather than cover these complex grid systems Rigdol highlights their role in the construction of Tibetan painting, confirming their significant to the development of a Tibetan aesthetic. While his paintings recall the work of Malevich and Mondrian, Rigdol is focused on deconstructing traditional Tibetan art, understanding the structure beneath the artwork. In terms of subject matter Number 4 draws our attention to the notion of wisdom and compassion often depicted in Tibet art as the union of the deity with his consort known as yab yum (father mother)