Khalilov follows the path of much bolder and sharper generalization ... You see in his paintings a mountain - a mountain in general, you see some buildings - this is the impression of them. The artist has learned to connect the external form of an object with some kind of general strong, intense feeling. Here are his views of Absheron, the types of places dear to him and other locations of Azerbaijan. They are always full of some particularly keen sense. And they are always built in a language close to symbolism.
Farhad selects one, two subject motifs - tree, field, sea - and connects each with some specific experience. Most often, these experiences are full of enormous internal tension. In general, his form is always full of inner tension, especially acute as a discipline of vision. And such a symbolic system of expression, the ability to reveal with some laconicism, brevity, aphoristicness, somehow, is very close to the elements of national Azerbaijani poetry since medieval times.
Undoubtedly, we have a mature master who has outlined his path as an artist of a unique lyrical and poetic talent. We can also assume that the coming years will bring him great success. Perhaps, he will lay them in more complex compositional genres, and indeed, in those in which he works, he knows how to find concentrated, modern content. And this makes him one of the major and serious masters of our modern art.