Aftab Ahmed Khan’s calligraphic display

The artist talks about his exhibition at Rawalpindi Arts Council.

ISLAMABAD:

Aftab Ahmed Khan seems to know no bounds. With his expertise as a book writer, forensic expert, artist, calligraphy extraordinaire and a Pride of Performance winner, Khan’s latest exhibition at the Rawalpindi Arts Council testified to his experience and skill.

Keeping the holy month of Moharram in mind, Khan held a calligraphic exhibition providing an interesting collection for the viewers with over 50 pieces up on display. “It was my aim to provide variety for viewers. I have used a wide range of mediums and techniques instead of sticking to the usual oil paints that are a norm in calligraphic exhibitions,” said Khan.

Wood work, ceramics, metal and glass were all components that were used in most of his pieces. His oil on canvas work also intrigued many as he utilised gold leaf paper to mesh paint and leaf to create bold yet intricate Arabic art.

“There is a flow in his work and that’s the mastery of calligraphy — to create a continuous flow without breaks,” said Maha Qureshi, an art graduate present at the exhibition. “If you look at his work closely, you realise that there isn’t a single place where the brush paused.”

What other visitors and art enthusiasts probably aren’t aware of, is the fact that Khan is ambidextrous. “I paint with both my hands. It’s a technique that took years to master but I started very young,” Khan confessed as he demonstrated on a piece of paper for everyone to see.  His geometrical kufi pieces take the unconventional path as he introduces the curve in the metal square calligraphic pieces. Some of the seemingly metal pieces may deceive one as Khan explained with a smile: “Some of the pieces are actually wooden but are painted to look metallic.”

The exhibition mainly comprises the Khat-e-Nastaleeq calligraphic technique. Even though, one cannot deny the finesse of Khan’s work, his ceramic pieces however, fell short of expectations as many agreed that they were perhaps the least appealing. “I think everything is at par except the ceramics — they seem to be giving off a gaudy look,” said a visitor, while another described them as rather “tacky”.

While his ceramics lacked his glass-sand showering technique, the rest of his work left the audience impressed. Khan had used glass pieces to mesh together his letters after which he sand showered the letters and placed mirrors behind them, giving the entire piece great depth of vision and very fine detailing that could be witnessed up close.

When Khan was asked which was his favourite piece, he pointed out to a large oil canvas with the Kalma-e-Tayyaba written and said: “This one is the only old piece here — it was showcased at Monte Carlo in 1984 and it’s a reminder of how far I’ve come.”

Published in The Express Tribune, November 22^nd, 2012.         

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