It is Khalil Chistee's imaginative use of his chosen medium 'plastic' that brings engagement value to his work. Moreover, it is his ability to experience life's challenges, its twists and bends and still emerge unscathed that infuses the essential 'feeling' in his creations, writes Salwat Ali

Deeply personal yet very topical, Khalil Chistee's drawing and sculpture show 'Toys are us' comes across as a humorous reality check of life within the superpower socio-political structure.

A product of National College of Art, Lahore, Chistee did his Bachelor of Fine Arts in 1998 and later acquired a Master of Fine Arts degree from the California State University, Sacramento in 2006. Trained as a sculptor in the traditional mannerism, his grasp on the human anatomy is acute and penetrating. A productive association with leading modernist sculptor Shahid Sajjad, a long teaching spell at his alma mater in Lahore and in California, and successful execution of several massive public projects at home and abroad, have not only sharpened his observation and honed his working skills but also matured his focus on life.

A native of Punjab, his deep affinity with the Sufi doctrine of 'love' is his guiding force enabling him to cast a benevolent eye on the ugly realities of life. This compassion imbues his work with a rare sensitivity that often cuts deep. Currently he works in the United States and claims he has no home.

Experiencing life abroad at close quarters has brought Chistee in touch with the systems operative behind the façade of prosperity in the 'land of plenty'.  Perceiving humanity as pawns/toys in the hands of mega powers, he builds his premise by subverting/punning on the title of the famous toy chain Toys R Us. His figurative sculptures in toy like semblances are expressions of people living a programmed existence.

Amongst his most telling exhibits is '401 K', the anchor piece of the show which references the coveted US retirement plan. “People make their life miserable to get it” he remarks, adding “I have met some very good artists who have compromised their creativity to avail it — they are waiting to acquire the security benefits when they reach retirement age and then revert to freedom of expression they long for.”   

Negating the right to free will '401 K' is a carrot and stick program implemented by subtle coercion and scare tactics he opines. As victims of a manufactured security system a godless public soon acquires the characteristics of zombies. Chistee's figurative sculpture of a nuclear family, a couple and an offspring, android like in appearance, are an expose' of this syndrome.

Mimicking the umbilical cord attachment to the womb he has connected his 'beings' to a machine similar to one that dispenses gasoline. He deliberately presents them as transparent, down to their undergarments, to accentuate how see-through their life is and yet he emphasises “this transparency is opaque ... it hides all truths” making it difficult to understand how “healers are actually the ones causing pain.”

Likewise, 'Humiliation is a gateway to peaceful living' a standing contraption with arms spread out and personal belongings tumbling out of its boxed compartments critiques present day air travel to foreign destinations. The sculpture illustrates the shame and embarrassment travellers feel when they are subjected to demeaning security checks through body searches, removal of shoes and socks, and use of dogs sniffing through their private luggage.

An adult on a toddler tricycle in 'Rider' again speaks of the absurd level to which a person is reduced when following the US mantra of a safe and secure haven. Other works like 'Philosophers key' and 'Winged loser' are variants on the same dilemma.

It is interesting to note that Chistee in exposing a system is also revealing his own insecurities. A one time victim of the very culture he critiques, he has since been able to grapple his own demons and transcend the situation. Distancing himself from the lure he examines it objectively to produce works that will enable others to free themselves also.

As truth to self is expressive in his content so is his use of new media as a sculptural tool. Living in the age of plastic he has adopted this unorthodox material as his agent of transmission. Chemically manufactured, very commonly used plastic sheets of the garbage/thrash bag variety, moulded into ghostly figurations by an individually perfected application of heat, allows Chistee to create works in a state of incompleteness. The gnawed texture and wispy strands of plastic trailing/hanging from the objects and bodies of his protagonists speak of work in progress as if the artist is deliberately purporting a tattered, ragged look.

The mixed readings of disarray, ambiguity and a chilling ingloriousness, these works physically as well as conceptually are so characteristic of this age. This is where the artist makes his mark — in his identification with the material, cultural and spiritual ethos of the environment in which he lives.

The second half of the exhibition is devoted to a series of figurative drawings in graphite and charcoal based on photographs posted on the internet. Most consist of propaganda images glorifying the American 'war on terror'.  Chistee draws smiling soldiers enjoying rest and recreation but minus their uniforms and weaponry. He is interested only in depicting the human beings inside the militant wardrobe. He says, in this robotised humanity 'mujhe insaan ki talaash hai' (I am in search of the human). A pertinent premise but by no means a new technique these graphite images lack the novelty, emotive strength and instant impact of his shredded plastic creations.

As an artist it is Khalil Chistee's imaginative use of his chosen medium 'plastic' that brings engagement value to his work. Moreover, it is his ability to experience life's challenges, its twists and bends and still emerge unscathed that infuses the essential 'feeling' in his creations.

On the cover Philosophers key

Above left Detail of Humiliation is a gateway to peaceful living

Above 401-K

Left Children of God VIII