Dilawar Khan's Works
(Dilawar's Wooden Sculptures)
Dilawar
Khan’s works can be reckoned ‘personified visuals’ as abundance of human
portraits is a primal feature of his works. Peculiarly created in flank manner these
portraits speak of variegated human expressions and emotions, as each
‘subjectified’ portrait contains multiple portraits within. Dilawar believes in
recital quality of a face which communicates with all intramural sensations,
and undoubtedly the female faces are more expressive than of male ones. They
hold the subtle delicacy begetting the gustation of beauty as well. So, making
the female faces is likely to endorse his ideas more precisely.
(Dilawar's Earlier Works)
He
relies in impact of visual approach, thus in beauty and its amorous; another
reason which leads him to create the female faces notably and to use ‘golden’
and ‘red’ into works. His earlier black and white color palette is becoming
bright and warm with the recent works. It makes his works ‘decorative’ in a
concern where ‘contemporary’ is considered in the ability to gush conceptuality and intellectuality. Here Dilawar’s approach goes with ‘indian-ness’ rather
than falsely following the contemporary, a western cliché. He brings us back to
the words of A. Ramachandran, ‘decorativeness is a part of Indian culture. To
us, decorativeness is the life force. The whole surface of the picture pulsates
with life because of decorativeness.’
His
deliberately created pictorial images introduce his protagonists to the world with
keyed eyes. They seemingly delved into their introspection or into their own
emotive gravity, and rarely open up their locks to give a glance to the world
around. It’s obvious of the capacity of these images to arise the same in the
heart of viewers as well. He must have tried to put a mirror in-front of the
viewer in form of his mattery portraits. Apart from making his protagonists
emotive effigies, he is conscious of the entry of machinery into human lives
also; as his meticulous portraits are hooked by nut bolts in few of later
works. This tendency of arrival of machinery has become more precise in his
recent works. This can be seen in his sculptures as well where he uses the
Stephanie of a bike at the place of the eye of an ‘ancient scientist’. He uses
mainly wood as a material for his sculptures and arise the contemporary issues
of ‘chair’ also via them.
(Dilawar's Recent Works)
(Dilawar's Wooden Sculptures)
(The Sculptural Work 'Ancient Scientist')
(The Sculptural Work 'Chair')
His
art practices straddles between meaty and mechanical, discernible and
cryptical, unlit and splendent, cardinal and concise as a subject, material and
visual approach. The crux of Dilawar’s thought process lies in experimenting
with traditional media like oils in painting and wood in sculptures and
imbibing the consequences of synchronous as his subjects.
Photo Courtesy: The Artist
