Viewing the art of Abrar, one shares the enormous enjoyment the artist obviously relishes in the changing moods of colours. A self taught artist in the tradition of Sadequain and Gulgee, Abrar freely

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Viewing the art of Abrar, one shares the enormous enjoyment the artist obviously relishes in the changing moods of colours. A self taught artist in the tradition of Sadequain and Gulgee, Abrar freely delves into the romance of classical miniature painting, and fuses contemporary styles with stunning results. One discovers ethnic patterns, diverse textures and explosions of colours that are breath taking. The artist's subject, a bejeweled and gracefully draped woman, is often the centre of composition that includes a musical instrument or birds for company. Perhaps these cameos refer to the romantic period of the Emperor Jehangir when times were peaceful and lovers- together and apart- appeared to be a favoured subject. Birds- the messengers of Mughal art- are familiars and obviously important to the sinuous forms that dominate the brilliant colouration and powerful textural interest of their settings. One painting in particular that includes a musical instrument has a rhythmic pattern that dances across the surface of the work. Here the linear detail that is important to the artist is much in evidence. In the centre of the canvas the subject is seated on a wall composed of small dark tiles, the pattern intervenes with an exquisite blue vase and bright green leaves. Abrar's work may be interpreted on historical or philosophical levels yet it is also the work of an imaginative min d and a deeply feeling creative individual. The artist related that his work is inspired by Urdu ghazals that are described as a poetic expression of the pain of separation from a loved one; certainly in Abrar's work it appears that every painting is a poem.

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