Reghu's language and aesthetic has been moulded by two significant encounters: his early contract with Elizabeth and Laurie Baker with their Gandhian philosophy of working with indigenous materials and J. Swaminathan at the Bharat Bhavan who, in his persona of a 'tribal' artist, voiced the cause of the dispossessed.
Reghu, like moist image-makers, was initially a potter. He later abandoned the practical functions of pottery and turned to the ceramic tradition of sculpture. This journey in form from "the pot to the head" is marked by a certain fluidity. The convex curves of the pot now assume the contours of the head and the inanimate and utilitarian object is fused with "numen," (spirit) evoking the aura of a living image.
The surface of Reghu's work in its muted organic earth colours, has a matte finish. The work is shaped by an artist who is intimate with the tactile processes of using his hands: pattinh mud walls, throwing the clay on the potter's wheel: or even dexterously kneading dough and handling food. The medium and method reflect familiarity with a rural lifestyle.G Raghu has a very long association with Gallerie splash.