The art of Faqruddin is predominantly an outcome of a unique 'gestalt' that creates intensity of visual significance and emotional repercussion. Formalistically, the crisscrossing and interlacing elements which are prearranged in a very particular manner evoke a sense expressionistic clout of rhetoric. The rhetoric is translated into unambiguous but indecipherable calligraphic patterns, which also create a sense of abstraction.
Hailing from a family in which recitation of aayaths and duas from the holy Quran is a daily routine, he drew a lot from the scriptures and developed an individualistic style. He constructs and reconstructs the forms exploiting the natural beauty of Islamic calligraphy.
Calligraphy as a genre of painting earned its place and regarded as one of the finest mediums in Islamic art. Islamic calligraphy transliterates the Quranic verses into abstract visual text, as an endless creativity and versatility, through a formalistic aesthetic device. The art of calligraphy is generally constructed by standardized elegant lines and abstract designs, which involved phonetic syllables with semantic meaning. The word takes shape of a meta-textual imaginative form which inevitably brings out a decorative sublime. Ta'liq & Nasta'liq scripts are few such important variants in Islamic calligraphy. The oldest calligraphic styles such as Kufic, Al-Maghrib, Thuluth, Riq'ah, Muhaqqaq are the basic sources for several other emerging popular styles such as Bismillah calligraphy and Zoomographic calligraphy.
Faqruddin derives styles from these classical Islamic scripts employing an assortment of kinaesthetics and an amalgam of various scripts. Upon these heavily treated painterly pictorial spaces, he depicts the plethora of unknown forms, which articulate the meanings of aayaths, (names of Allah) and duas. He diligently carves out his compositions using these prototypes and transforms them according to his ideas and the visual designs that are evidently occupy his canvases. These kinaesthetic designs and verses come together manifesting a balanced dynamism and an autonomous whole in his paintings. By doing so, he makes a meaningful attempt to exploit the enthralling medium and propagates peace that is primarily expressed in Quran.
His recent paintings, which are largely inspired by calligraphic art, can be seen as a harmonious expressive visual language and an abstract beauty of the calligraphy itself. The typography of the non-native language is a deliberately abstracted using his adroit skills with finesse and grace. However, Faqruddin's art is not entirely an abstract form but it is an unintelligible linguistic ornamentation for non-Arabic viewers. For him, it is an art of gestural control just like Abstract Expressionism, a representation of inner emotion and a non-representative visual idiom, through which he makes an attempt to disseminate his ideological messages.
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