of Hindu lineage. In years before 1980, Raiba began research for the most important exhibition he claims to have executed. At the Petit Library in Bombay, he referenced illustrative manuscripts of the British and the Portuguese from the 18th century that depicted old etchings and maps of Bombay, he searched for details from the Gazette of India, a compilation of minute details by the British of their possessions, and personal travelogues and biographies of those who had passed through the city. This served as an archive of information based on which he recreated an imagined nostalgia of the city from the 18th century for an exhibition of paintings at Jehangir Art Gallery, perhaps as an ode to his origins. Soon after, Raiba's studio on Temkar street was lost as the building collapsed due to disrepair, and the family had to move to the distant suburbs, ironically in the environs of Vasai (Bassein) Style Always using Charcoal to sketch, Raiba's use of the line was subject specific, changing over the years, dependent on what he chose to study and illustrate. In his earlier works, he depicts Christ, female nudes, and the erotic with sharp linear, angular shapes, falling short of being defined as cubist. In his landscapes and portraits of rural folk, a much later series, Raiba's lines began to curve vivaciously finding echoes with the styles of the Mexican Muralists. Perhaps his concurrent training at the JJ in techniques of both the Western and the Indian schools of painting at the eve of Indian Independence compounded by a scholarly reclusive nature gave birth to a style and technique that bore few distinguishable similarities with the works of other artists. The invites to his exhibitions were self designed, experimenting often with font, paper textures and improvising the design of the catalogue into shapes that were innovative in their fold. Raiba, had a lifelong experimentation with Calligraphy which he often took to with passion, conjuring bird shapes out of Urdu couplets. His experimentation with technique and medium was a continuous process. In 1980, Raiba, while visiting the JJ School of Architecture for the admission of his elder son, encountered hobby classes at the school's fine art faculty. He enrolled himself into the printmaking department then headed by YC Shukla and Vasant Parab for evening classes in printmaking. Here he learnt how to prepare the plate, draw onto it and print etchings. After