Khalid Mohamed explores Delhi artist Feroz Khan’s remarkable journey from Purani Dilli banner painting to acclaimed contemporary art, revealing his inspirations, mentors, resilience, philosophy, animals, galleries, and enduring creative vision.

It has been an unusual situationship with the New Delhi-based artist. For over a decade, we’ve exchanged messages about his artworks over Instagram. 

Without ever meeting personally, I’ve been struck by Feroz Khan’s faultless lines and gentle strokes, and the coordination of pastel colours on huge canvases. To find out more about the self-effacing and somewhat shy artist, here's over to an email interview with the man of cheerful colours and gentle-hearted thematic concerns.

Growing Up in Purani Dilli

After searching for information on you on social media platforms, I found precious little information. Could you fill me in please?

I grew up in Old Delhi, widely known as Purani Dilli or Delhi 6, close to Jama Masjid. I was the only son among five siblings. Being the sole brother, I was naturally pampered and perhaps a bit spoiled, which contributed to my rather mischievous nature during my childhood.

When I reflect on my journey as an artist, I must acknowledge my late father, Mohammed Ibrahim Khan, as my first mentor. He was the one who first placed a paintbrush in my hands at the age of 12 and taught me the fundamentals of applying colour to canvas. I used to visit Banner Studios with Abba in Darya Ganj, Kashmiri Gate, Purani Dilli. I would assist him on banners of films like Kashmir Ki Kali and Mera Naam Joker, then election hoardings of eight feet and beyond. Those early-day lessons hooked me; I couldn’t imagine any other kind of life beyond paints and brushes.  

Hardship and Becoming an Artist

Was your childhood difficult financially?

Yes, my childhood was financially challenging. Banner painters were underpaid and overworked, the way M. F. Husain was. At the age of 13, I had to take on the responsibility of looking after our household. Besides painting banners, I took on additional jobs as a salesman in garment and footwear shops.

I studied at a government school in Old Delhi, and at night would slog through my correspondence course from Jamia University. The realization that I could be an artist came later, when I began working under the guidance of my guru, Manjit Bawa, whom I could meet since my father had done some work for him.

Lessons from Manjit Bawa

What did you learn from Manjit Bawa?

Under his mentorship, I learned to work with brushes and pastels across a diverse range of subjects. More importantly, he taught me to appreciate and understand the beauty and subtle nuances of texture in art. His most valuable lesson, however, was encouraging me to draw inspiration directly from real life.

Somewhere subconsciously, I learnt how to be positive about whatever I was painting. If there’s any subtext of resilience and unwavering strength in my studies of common people, it’s because reality itself is that way. It’s not necessary to protest or indulge in political comments; that would be far too facile and self-indulgent.

What was the response to your first solo exhibition?

My first solo exhibition was at the Lalit Kala Akademi in Delhi, and it was a tremendous success—every work was sold out. That show remains meaningful to me, particularly because of my father's and my guru's reaction. I still vividly remember them looking at me with immense pride and saying, “Beta, artist ban gaya.” I broke into tears.

The affirmation from the two most precious figures in my life validated not just commercial success but confirmed that I had arrived as an artist in their eyes. That’s more valuable than money, I can assure you.

Indian Art and the Marketplace

What is the state of art in India today? Is the market still dependent on major auctions and artworks of master painters?

Indian art has truly achieved global recognition, and auction houses have played a pivotal role in taking Indian contemporary art to international audiences. The art market certainly prioritizes established master painters. However, the market is also receptive to innovation—new subjects, experimental mediums, and fresh compositional approaches are embraced without prejudice. That said, the competition is undeniably intense.

The Animal Series and Everyday Inspirations

Can you elaborate on your animal series, like Zebra and Cows?

Since my childhood, I used to gape in awe at the patience of cows on the road and the horses attached to ghoda gaadis in Sitaram Bazaar, Old Delhi. Also, during one of my visits to the Zoological Park in Bangalore, I was captivated by the beauty and form of the animals there. That was a turning point in my artistic aesthetic and opened up an entirely new realm of reference points for my work.

Where do you find inspiration for your works of the common people?

Whenever the opportunity arises, I love to travel and immerse myself in different environments. During these journeys, I deliberately focus on the ordinary—the everyday scenes and moments that most people might overlook. There’s a profound beauty in the simplicity of daily life, whether it’s people going about their routines, mundane activities, or commonplace interactions. My canvas becomes a medium for elevating these everyday moments, revealing the extraordinary within the mundane. In a way, I create my own utopian world, which I think we need.

Competition, Recognition and Cinema

How do art galleries treat you?

The response to my work has been more than encouraging. My animal series, particularly of zebras, cows, and goats, has resonated strongly with galleries and collectors alike.

Is there any solidarity among Delhi artists or is it extremely competitive? Which contemporary artists do you admire?

I believe the scenario is cut-throat. I stay away from power games because they can either make or break you. I’d rather be in a space where my canvases speak.

Of the masters, I truly admire the works of Manjit Bawa, M. F. Husain, and F. N. Souza. Among the contemporaries, there are the original and thoughtful oeuvres of Atul Dodiya and Riyas Komu. And I may mention that the great works of Vincent van Gogh and Giuseppe Zais, who specialized in the landscapes of Venice, are deeply embedded within me.

Does being an artist also mean somehow getting publicity?

Publicity follows naturally when an artist's work is original and significant. I believe that the quality and authenticity of the work are paramount—when you create art that resonates deeply with viewers and demonstrates genuine skill and vision, recognition tends to follow organically. (Laughs) In fact, this is my first interview.

Has any film been important in your growth?

Only one. And that’s the vintage Baiju Bawra. The music, the performances—especially by Meena Kumari—and its black-and-white radiance are irreplaceable.