MC EXCLUSIVE Laila Khan Furniturewalla on becoming an artist and not entering movies like brother Fardeen Khan: 'I was interested in it initially, but it quickly faded'

"My upbringing was not traditional. Coming from a film household, everything seemed bigger than life. We were surrounded by singers, poets, and other creative people since my father was so active in all aspects of filmmaking," she says.

Despite the splendour, Laika Khan says her childhood was steeped in strong principles.

"We were never spoiled. My father and uncle were self-made men. They lost their father at an early age and came to Bombay with no godfather or support, only stars in their eyes and aspirations in their hearts. Watching that voyage had a significant influence on us," she said.

When asked why she didn't pursue a career in cinema, although it was always available to her, she said, "My father and uncles were all very protective of the ladies in our family, so we weren't encouraged to pursue acting. Yes, there was a point when I was interested in it, but it quickly faded."

Instead, Laila was attracted towards painting, which she describes as intensely intimate and alone.

"Art just includes myself; there is no assistance, no editing. In acting, an editor can choose the finest performance. However, with art, everything must come together in the initial instant. There are no retakes. That immediacy and honesty is what makes it so impactful for me," said Laila.

Her choice to take a long gap from solo shows was not deliberate. "The extended period between solo shows was not something I had intended. It happened naturally," she said.

Laila said her marriage to Farhan Furniturewalla and helping him in his luxury home firm kept her artistically active. "We were building houses, traveling extensively, and raising a family." Life simply shifted in another direction".

But the desire to paint never ceased. "I used to paint whenever I could. In 2012, I was part of a group show in Chelsea, New York, with other international artists. But I knew I only wanted to return when I was ready to showcase my whole body of work. And now it finally feels like the proper time."

Her creative approach is both physical and spiritual. She uses reflective elements such as gold, lava, sand, and metal to add sensory complexity to her paintings.

"Gold has a strong presence in my work because it represents celebration." In Indian culture, gold is used in rituals, feasts, and holy art, and since I regard my art as a sort of celebration, it seemed like a natural element to add."

Lord Ganesh features frequently in her art. "Ganesh, to me, is more than just an idol; he is a powerful, radiating presence..." His aura pervades everything. "That fascinates me."

Despite taking breaks from painting at times throughout her life, she never lost touch with it. "The truth is, I never really left art, and art never really left me."

Now, as she fully accepts her mission via Untamed Heart, Laila thinks the timing is perfect. "My life is a pursuit of beauty. I feel that what is most personal may be the most creative. I adore life, and I want a piece of it."

And she has done so with canvas and emotion, rather than scripts and spotlights.

Excerpts from the exclusive interview:

What inspires your creativity, and how do you balance your personal and professional life?

Laila: My life is a quest for beauty. I believe what is most personal can also be the most creative. I love life, I want to grab a piece of it. There’s a sacred place we all have, and I want to express mine through paint, something about the sky, the sea, the horizon. I’m deeply inspired by nature, and also by the transience of life and its fleeting quality. My quest is to find something like a seed that can create a new syntax for the eyes. My home has always been my priority, which is why I waited so many years, until my son was independent enough, for me to fully immerse myself in art. That’s why my solo body of work has come after such a long time.
Farhan is also very much into art, and that helps, because he understands the demands and time it requires. It’s not an easy balance, but one strives to make it work. Ques:  As an artist, you've worked with various clients and projects. What's the most memorable experience you've had, and how has it influenced your work?

Laila: It’s very important to me that the essence of an artwork or painting unravels immediately, you know? That first encounter becomes a decisive moment in the viewer’s interaction with the piece. It’s in that moment that the work begins to feel meaningful, as it reveals itself. That’s why I want some of my work to evoke emotion. And for those who view it as art, I hope it becomes an experience, something that brings both physical and emotional joy.

That is what I seek: I build half the bridge, and the viewer builds the other half.
In the past, many of the people who have bought my work have continued to find meaning and contemplation in it. They tell me they always discover something new, which is enriching - for them and for me. I once gifted an artwork to a young girl who was very ill. To this day, she says she loves it, and that she keeps looking at it, it continues to enrich her emotionally. These are the true rewards and moments that matter.

Ques:  You are the sister of actor Fardeen Khan and your father was a successful actor of his time - Feroz Khan and uncle Sanjay Khan. Tell us a little about your growing up years.

Laila:  My growing-up years weren’t conventional. Coming from a film family, everything felt larger than life, we were surrounded by musicians, poets, and all kinds of creative people because my father was so deeply involved in every aspect of filmmaking. Despite that, we were never spoiled. We were raised with strong values. My father and uncle were self-made men. They lost their father very young, came to Bombay with no godfather or backing, just stars in their eyes and dreams in their hearts, and they made it. Watching that journey had a huge impact on us.

Ques: Were you never inclined towards Movies? Since your brother, cousins all were in Bollywood.

Laila:  My father and uncles were all very protective of the women in the family, so we weren’t really encouraged to pursue acting. Of course, if someone truly wanted to, they wouldn’t have stood in the way, but there just wasn’t that much encouragement. Yes, there was a time when I was inclined toward it, but obviously, it came and went.

Art, on the other hand, was something I loved from a very early age. I cherished my solitariness, and I think that’s why art stayed with me. It’s a passion I’ve held onto, and it hasn’t left me. I believe nature knows best, what happens to you as a result of your choices is all part of something larger, and I find that fascinating.
I do love the magic and madness of movies and acting. But what I truly love about art is the complete control you have over it as a medium. That, to me, is both challenging and deeply personal. Art singularly involves me, there’s no aid, no editing. In acting, an editor can select your best performance, there’s the support of music, cinematography, and multiple takes. The director can choose your best version. But with art, it all has to come in that first moment. There are no retakes. That immediacy and honesty, that’s what makes it so powerful for me. Ques: What would Mr Feroz Khan say when he saw your art forms? Any particular feedback you remember? What was your parents reaction to your art forms?

Laila: I come from an artistic family, so pursuing art was always appreciated and encouraged. But we were never given direction or forced to do anything, it was a very free-flowing and easy atmosphere. My mother knew very early on that I was going to be an artist. It’s because of her encouragement and constant push that I am an artist today. I must say, I think it’s incredibly important that parents instill that level of confidence in their children when they see a talent.

My father was my biggest critic. He would never compliment my work unnecessarily. When he saw something in it, he would comment; otherwise, he wouldn’t. He only agreed to put certain works of mine in the house if he felt they truly belonged there.

I started painting the female form very early on, and I particularly enjoyed working with nudes in charcoal. Those were the pieces my father really liked. He loved art deeply. There was one specific charcoal nude that he admired a lot. He said, “This work is mine.” He saw a certain modernism in it that he connected with completely.
That meant a lot to me, it was extremely flattering because he was a man ahead of his time. Ques: Who is your biggest cheerleader in your family? - brother, hubby or mom?

Laila: My husband Farhan is very into art. He’s very clear about what he likes and what he doesn’t and quite critical of my work, which I actually appreciate. In fact, he was the last person I sent my catalogue to because I was afraid he might not like any of it. Thankfully, he did connect with some pieces from the series.
My mother, as I’ve mentioned, has always been a constant source of inspiration for me. She regularly sends me artworks that inspire her, and that keeps me going.
My brother, too, is a collector and has particularly connected with this ‘UNTAMED HEART’ series. It moved him, he derived something meaningful from it and connected with it emotionally. So, overall, I was happy with their reactions. I felt heard.

Ques: You just made a return to the art scene after a gap of 18 years with solo exhibition Untamed Heart - why such a long time?

Laila: The long gap between solo exhibitions wasn’t something I had planned - it unfolded naturally. During that time, I became closely involved in my husband’s brand, Furniturewalla, which focuses on luxury furniture, lighting, and home decor. We were building homes, travelling extensively, and raising a family, life simply moved in another direction for a while. But I’ve always believed that things align when they’re meant to.

Even though I wasn’t exhibiting solo, my connection with art remained strong. I painted whenever I could.

Ques:  What stopped you from doing art? and why were you away - if you could let us know a little.

Laila: When I got married in 2010, I became involved with the creative aspect of Furniturewalla. I started traveling with Farhan all over the world, sourcing furniture and artifacts, hand-picking beautiful pieces. I truly enjoyed doing that. I love interiors too, it’s a passion. Around the same time, I was also planning to start a family, and that took some time and focus. I’m not someone who can just do a bit of this and a bit of that. I get fully involved in whatever I take on, I immerse myself completely.
A solo show, for me, should be an honest body of work that comes after years of full-time painting. And in 2020, during the COVID year, I finally got the chance to immerse myself fully in my art. That’s what marked the beginning of the major body of work for this show: ‘UNTAMED HEART’.

That said, I did participate in a show called The Pulse of Abstraction in New York back in 2012. It featured international artists, and I was part of that group. Over the years, I’ve also taken part in many fundraisers and group exhibitions.
But the truth is, I never really left art and art never really left me.

Ques: Laila you use reflective materials, pigment, gold, lava, sand, and metal to create canvases - why?

Laila: Gold has a strong presence in my work because I associate it with celebration. In Indian culture, gold is part of rituals, festivities, and sacred art, and since I see my art as a form of celebration, it felt like a natural material to include. It also carries a deeper cultural and historical connection, appearing in religious imagery and in classical European art traditions like the Renaissance and Baroque periods. My exposure to Hindu, Buddhist, and Tanjore art has shaped the way I see and use gold in my own language.
I also work with sand, sculpting it directly onto the canvas. There’s an intentional physicality in how I build my surfaces - layered, textural, and almost sculptural. In today’s image-saturated world, I think it’s important to hold on to the tactile, handmade nature of art. I want people to feel something when they interact with the surface, not just look at it.

Nature has always been a grounding force for me, which is why light plays such a key role in my pieces. I work best in natural light, and I build my surfaces to respond to it. I also love making my own pigments, it’s a very personal process that lets me shape the exact tones I want for each work.