Farhad Hussain's Topic in his work of solo exhibition in GALLERY SOHEON and SOHEON Contemporary the first show ever in KOREA is "LAUGH LAUGH LAUGHING AT THE HEAVEN'S DOOR" (from the satirical borrow of 'KNOCK KNOCK KNOCKING ON THE HEAVEN'S DOOR BY BOB DYLAN ) as the purpose of Story-telling in his work as satirical Topic.

Farhad Hussain's current works are visual treats: they are big, brightly colours interspersed with shocking pink, full of merry-making members of happy families depicting scenes of domestic bliss or contradicting undertones. There are theatrical spoofs in fantasy and reality depicted throughout Hussain's paintings. At times, there are tame and wild animals linger incognito, generously or precariously in harmony with the human.

It is obvious that Hussain's characters are more overtly sexual, bloated, bizarre, cunning and mischievous in an all familiar home-setting environment. This sensational slant can easily be attributed to his formative years of his training in arts or his concerns on the Indian societal fabric. He certainly takes a hard-look into the middle-class Indian family that illuminates the merry-making, ills, dysfunctional and superficial nature; and yet retaining its very Indian values and virtues in outlook.

A moment stolen from the happy neighbour, a scene from the satisfied family from across the road, Farhad’s canvases give the viewers an opportunity to be a voyeur.

Stylistic intensification of the excitement of seen or imagined subject matter flows onto a momentous stop at the canvas.

The much hidden questions about the culture and its agonistic influence of the pretentious happy family face the onlooker forcing him to question the ever so smiling couples on the canvas.

Art expression of Farhad’s reality through the process of the ‘comic’ starts with the imitation of the experienced or imagined. This translates into the ephemeral second of happiness … and with the neon colours, the satire starts. As the protagonist takes the stage, the surreally perfect surroundings, the actions and dynamics between the characters starts narrating a parallel story. The un-seen, the un-observed, the covered aspects of human nature in the cultural context are added through an unreal perfection in the action of the actors.

Finally it goes on to evocation of a thought about the dark inaccessible part of human personality throwing the mind into a dream-like state where the acceptance of the voyeur in all of us in not the negative but the normal.

The ego is fed by the satisfaction of being normal and the alter ego by the knowledge of the dynamics beneath the smiles.