The Personified Images into Leman’s Mirror

Dilawar Khan's Works

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