Abstraction as an idiom has always been defined in relation to the artist’s ability to empty the painted space of all contents. Though this artistic conviction never held sway over the exponent of abstraction in Dhaka. Yet in the discursive field abstraction was mostly perceived as a total effacement of visual cues, be that to natural or human environment. The works of Hamiduzzaman Khan stand testimony to how effacement often translates into an unfurling of the metonymic visuals which work as a bridge between the interior landscape and the world outside. His watercolour works often bring into view some fragments through which an archaeology of memory is rolled out to the viewer for the viewers to partake of the same.

— Mustafa Zaman