Ikon Gallery in Birmingham is set to present Lines of Flight, the first major retrospective of British–Indian artist Balraj Khanna (1939–2024), running from 30 September 2026 to 21 February 2027. The exhibition brings together more than 40 paintings spanning six decades of Khanna’s career, offering the most comprehensive overview to date of his work as a painter, writer and curator.
A career shaped by migration and memory
Born in Jhang, Punjab (now in Pakistan), Khanna witnessed the Partition of India in 1947 before moving to London in 1962 to study English literature. A road accident in 1965 led to a period of recuperation in Metz, France, where immersion in the Forêt de Saint-Bernard proved pivotal to his artistic development. It was here that he began to develop his distinctive abstract language, which was characterised by layered surfaces, the use of line and string, organic and geometric forms, and a keen sense of spatial rhythm.
By 1964, Khanna had become a member of the Indian Painters Collective, which advocated for the representation of Indian artists in Britain. Over the following decades, he exhibited widely across the UK, France and the United States, with his work later featured in landmark shows such as The Other Story at Hayward Gallery (1989) and a solo display at Tate Britain in 2024. His paintings and archives are held in major public collections including Tate Britain, Arts Council England and the Victoria and Albert Museum.
Themes of identity, belonging and the natural world
Lines of Flight traces the evolution of Khanna’s abstraction, shaped by his youth in Punjab, his life in post-war Britain, and an enduring fascination with the natural world. The exhibition explores themes of migration, Partition, identity and belonging through works ranging from early paintings inspired by the forests of Metz to later compositions reflecting on childhood memories, diasporic identity and postcolonial politics.tribuneindia+1
Highlights include Remote Region (1965), which exemplifies Khanna’s use of line and grid-like structures suggesting boundaries, and mixed media works from the 1980s to 2010s that showcase his innovative use of sand, spray, stencil and mark-making. In contrast to his typically vibrant palette, Hampstead Heath in Winter (1986) reflects his adjustment to life in England through its grey tones, while Caught at Play (1995–96) demonstrates his interplay of precision and texture.
Birmingham connection and public programmes
The exhibition also celebrates Khanna’s deep connection to Birmingham through Astral Dance (2001), his monumental painted safety curtain for Birmingham Hippodrome, which marks its 25th anniversary this year. To coincide with this milestone, Ikon will collaborate with Birmingham Hippodrome on public programmes, curator-led tours and learning initiatives, extending access to Khanna’s work for audiences across the West Midlands.
Admission to the exhibition is free, and it will be accompanied by a programme of events, talks and family activities. A fully illustrated monograph, published by Ikon and distributed by Art Data, will serve as the first major reference publication on Khanna’s work, featuring texts by leading art historians including Dr Elena Crippa, Dr Alina Khakoo, Dr Aparna Kumar and Dr Cleo Roberts-Komireddi.
Support and legacy
Lines of Flight is generously supported by lead supporter Bagri Foundation, with additional support from ai. gallery, the Paul Mellon Centre for Studies in British Art, Jhaveri Contemporary and The Estate of Balraj Khanna. The exhibition offers a long-overdue recognition of an artist whose work bridges cultures, geographies and generations, highlighting his significant contribution to post-war British abstraction.
Cover image: Balraj Khanna, A Grasshoppers Eye’s View (1966) Oil on canvas, 118.5 x 184 cm Courtesy the estate of Balraj Khanna and Jhaveri Contemporary. Photo by Andrew Judd
Athmaja Biju is the Editor at Abir Pothi. She is a Translator and Writer working on Visual Culture.
