Time Machine: Going into Ancient Future

Finding the modern in the ancient is a matter of vision and desire, to renew the old in such a way that is thoroughly transformed in not only its form and look, but its very fibre and perception. That is what illustrator Omar Gilani prefers to do through his rather fascinating interpretations.

Desert Warrior Aunty.

CG. Your range of work bears contemporariness as a trend that seemingly defines or represents your style. What inspired this concept and what is your idea behind it?

Oman. I wanted to show what I want to see (more like giving a perspective into one’s outlook, interpretations, and perceptions). Science fiction or fantasy typically falls into very western tropes, and the subcontinent is usually ignored in those regards. That was frustrating, for me — that no one was depicting how this region may look in the future, and so I decided to give it a shot in my spare time just for fun.

Pindi Boyz.

CG. What impact or effect do you intend this ‘contemporary’ or ‘modern’ element to have upon your audience?

Oman.I just wanted to show that it is possible to create such kind of visuals and interpretations through such representations of everyday objects, many-a-times easily taken for granted. If anyone can look at my work and feel motivated to do something outside the box for themselves, I’d consider that a huge win for myself.

Sitaar Player.

CG. What inspires you as subjects for your depictions?

Oman. Just everyday things I see around me inspires me as subjects, and I easily find them worthy enough to take shape as depictions. We have a pretty rich culture and ancient history, and to wonder, visualise, interpret and finally depict how that would evolve — or not — in the next hundred to two hundred years is a rather interesting and exciting task.

The Bounty Hunter.

CG. What role does lighting have in your illustrations, and how do you approach and apply it?

Oman.Lighting has a rather significant role in any realistic illustration. I use lighting to determine the initial composition of a piece. Dividing the canvas into simple black and white shapes to see if all the various aspects are harmonious, helps me do that. The lighting in the shot helps guide at this step, and it does go on further to play a huge role throughout the development of the piece as a whole.

Smog City.

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