The sea, the field, the sky ... Elements and between them the firmament, which will seem as another element. This world is given for contemplation. And it is for us; here there are no other spies. No one will find the figures of people on the canvases of the painter, for it would be unthinkable to survive on these vast expanses, which they would hardly have become co-scale even when it comes to their dwellings, their trees, their streets. In such paintings, it is not possible to guess the true size of what is depicted: are the cubes of buildings designed for giants or are they buildings in the sandbox for children? And this is because the masses of matter do not lend themselves to calculus. In addition, these houses, streets and trees have no age; they, like the world, are both old and young at the same time. Khalilov shows colorful forms of being with rare frankness. Heavy clumps of matter are both miraculous and material; in short, they are a clot of energy, instantly manifested at a given moment in a given place. So it came together ...
To the peculiarities of Khalilov's painting it is necessary to attribute the main thing, namely, that it is not easy to relate it in words. Its story is the eternity and infinity of the world. And the colors here are not definable until the end, because on one side they are addressed to the spectator, and the other, implied, to distant substances, to unknowable transcendence. Therefore, they can be both heavy and light, seem bright and tarnished. In addition, they, obviously, show the world in a transitional state, when it did not approach, and did not retire. There is no certainty of distances here. This is the effect that a traveler in the mountains knows, namely, that the near is far, and the far is sharper and more distinct than the stone on the way. At the artist's exhibition one can see how his pictures - purely physically - gravitate towards each other, as if united by one energy field. Actually, all of them are parts of some whole, separate faces of the face of the general. They are united not by style, but by feeling, which dictates style. They place in the temples, and placed in the environment of the exposition in museums or galleries, they frame this environment. In them there are deep features of true sacral art, for they call for forthcoming, meditation, to a sense of belonging to higher secrets.