ISLAMABAD: A solo show of bold paintings by internationally acclaimed artist Masood A. Khan opened on Friday at Gallery 6. Titled “Transparency of Being” the exhibition presents 23 new works on paper, ranging from rich colour to striking monochrome.
Khan, a self-taught artist who began exhibiting in 1989, is renowned for his distinctive paper peel-off technique, which creates multidimensional, transparent layers that act like “X-ray vision” revealing the soul and hidden truths beneath the physical world.
“A distinguished name in Pakistan’s art scene, the artist has developed a distinctive visual language that draws upon both realism and modernism,” commented Dr Arjumand Faisel, the curator and director of the gallery.
“His paintings are characterised by intricate detailing, subtle tonal variations, and the delicate application of translucent layers, creating compositions that possess remarkable depth and dimension.”
The exhibition showcases Khan’s mastery of light, shadow, and transparency. Works like “Sunday Morning” capture serene domestic scenes bathed in vibrant, translucent colours, celebrating the simplicity of everyday life. In contrast,
“The Graduate” offers a stark, monochromatic social commentary on the contemporary issues, disillusionment, depicting a figure slumped in despair over a desk, a discarded graduation cap on the floor. The transparent layers reveal the inner emotional turmoil of the subject, peeling back the “fable” of academic success to expose the raw reality of uncertainty, the burden of societal expectations, and anxiety. This powerful piece visualises what Khan describes as the “despair and hopelessness of a young graduate”.
The “Come Before We Go” serves as a heartbreaking commentary on Pakistan’s socio-economic crisis, a desperate plea from elderly parents to an emigrant son, anchors the narrative of the youth exodus. The painting depicts an elderly couple in a dimly lit village courtyard, relying on a neighbour with a glowing screen to connect with their son abroad. “The daughter-in-law waiting anxiously in the shadows represents the silent, invisible victims of this exodus,” explained the artist.
In ‘Flute Boy of Chitral’ a young boy plays a flute, surrounded by goats and a glowing, ethereal landscape. The boy and his music seem to merge with nature, creating a deep sense of peace and a connection to the divine or the infinite.
Talking to Dawn, Khan felt sorry for young people who had enormous talent but no hope or opportunity to express it. He described them as “corporate slaves.”
A recurring and endearing feature of Khan’s practice is the presence of animals, particularly domestic pets, which contributes to the intimate character of his settings.
His work often draws on childhood recollections of Kushtia, formerly in East Pakistan, imbuing his scenes with gentle serenity and a sense of quiet continuity.
He developed his unique peel-paper technique while imprisoned in an Indian jail as a teenager during the upheaval of erstwhile East Pakistan, now Bangladesh.
He drew inspiration from Picasso’s cubism, fragmented objects and surrealism, depicting the suffering of people with a sense of melancholy. Troubled by hypocrisy in society, and mistreatment of animals, he paints dogs, cats, and other domesticated animals in every painting.
Khan’s international accolades include the First Prize in the Works on Paper category at the International Biennale of Chianciano, Italy, in 2011. The show will continue until November 17.
Published in Dawn, November 15th, 2026
