About Abul Khayar

Abul Khayar, a self-taught veteran painter and portraitist, is excellently unique in his work and ideology. His creations are innately affectionate to his personal life and psychological world, where he assumes various personae and alter egos. He presents a spectacularly opulent visual style for an increasingly modern world of art, standing out as an outspoken advocate for ‘art for art’s sake’.

Hence, Khayar’s name was distinctly pronounced with the young realist movement in the late ’90s in Bangladesh. He captured emotionally provocative images of villages, magnificent landscape, laypeople, and unsophisticated rural lives in his earlier works. He mostly avoids the fashionable urban lives except a few of his paintings that allude to an old city’s (Old Dhaka) dense atmosphere and its inhabitants’ psychological ennui. His ingenious mind cherishes numerous subjects, including birds, children, water-gipsy and so forth. Mystic spiritualism is a recent addition to his aesthetic world. Meditated individuals in various postures have taken place on large canvases. He probably intends to present the world of spiritualism through colours. The portrayals of monks and wandering-minstrels may well turn out to be his magnum opus. Khayar’s innate patriotism reverberates in the delineation of the exalted bravery and spirit of the victorious Bangladeshi cricket team. A series of grossly brushed extensive canvases exhibit the rampant and spirited postures of the defiant cricket players reflecting Bengalis’ inner spirit and spur. He has shown excellence in photo paintings, where colours and photographs are comingled with his creative thoughts. Such orchestration of the diacritic photographs and colours is seemingly the experimentation of impressionism. However, aesthetic realism majorly sparkles throughout his creations. Thus, Abul Khayar keeps delineating Bangladesh’s lyrical ballad on his canvas in multiple colours in a fascinating poetic manner.