Dichotomy – a term he chooses to explain his preoccupations with also forms the premise that reinvents itself as a constant in his work, which looks at the city not as a muse, but more so as a life. It may sound surreal then, and there is a fantastical tributary to his practice but the language is more psychical and not restrictive to a sheer cityscape. The city in Khatua’ work finds its metaphors in tables and chairs, cabinets and shelves, in the iconic and the lesser known, the epochal or the atypical. He imagines the constructed and formative of the city’s character viewing the city like a cartographer – mapping it from various perspectives. Browsing through Digbijayee’ compartmentalised renditions of the city that do not shy away from a rather romanticised and greatly embellished assortments of various media andmediums. It is almost like you were zooming in your lens to look at something so easily passable in its facets.
Trained at the B.K. College of Art and Craft, Odisha and the College of Art, New Delhi, Khatua’s work could be seen as a painting, as an installation, a sculptural frieze maybe and this contributes to as well as elaborates his complex vision of simple images. There is a stellar surety in the creation of spaces, which derives from his comfort with spot painting, an exercise that dominated his under-graduate study and formed the context for most of his early work. This meets his new found fascination with the city causatively giving his to present practice.