Raheel Khan's "Choir I" features a minimalist composition dominated by textured white and subtle earthy tones, with strokes creating an abstract, contemplative scene. The work includes geometric forms and distressed edges, suggesting an aged, layered history. The artistic technique merges paint and found materials, embodying a raw yet deliberate form. Khan's piece resonates with themes of memory and social structures, exploring the intersection of sound and material, echoing his background in examining transnational and cultural narratives. ...
Raheel Khan shapes sound, text, installation, and performance into immersive explorations of time, memory, and social structures. Trained initially in economics, he shifted to art to probe transnationalism, cultural infrastructures, and overlooked systems, giving voice to hidden rhythms through both material and sonic forms. His current work maps the cyclical patterns of time and promise within a framework he calls machine, devotion, and the acoustic, inviting audiences into experiences that are simultaneously cerebral, tactile, and deeply resonant. Khan’s early encounters with sound—particularly the vibrations of his older brother’s customized car sound system—shaped his understanding of presence, agency, and communal energy. These formative experiences inspired him to investigate how Black and Brown bodies navigate music, public space, and local economies. In his installations, Khan integrates subwoofers and found materials, including prayer mats sourced from East London charity shops. These objects, layered with historical and communal significance, interact with bass frequencies and recorded sounds, transforming both the physical and acoustic space. His work explores where the mystical intersects with the everyday, how memory and embodiment resonate in sound, and how sonic environments can imagine new worlds and future possibilities. ...
