Humay’s tale begins with two boys raised in the same village: one becomes a respected judge, the other a notorious thief. People say, “See how good and evil are born from the same soil.” One night the thief is caught stealing grain during a famine and dragged before his old friend the judge. The village demands harsh punishment. The judge is torn between personal loyalty and his duty. Before he decides, an old teacher appears and tells a hidden part of the story: as children, the “good” boy was always praised for his cleverness, while the “bad” boy learned early that his hunger did not matter. The teacher asks, “If one child is taught that his needs are invisible, is it surprising that he learns to take by force?” The judge realises that punishing the thief alone will not heal the village. He chooses a difficult path: he orders the thief to work to repay what he has taken, but he also condemns the community for neglecting its poor and demands changes in how food is shared. Both men must face their part in the imbalance. Humay shows Bahram that good and evil are rarely pure colours. A just ruler must look at causes, not only at crimes, and must be brave enough to accuse himself and his people when necessary.

Sandalwood pillars, carved patterns – law, tradition, structure

In this painting I avoided very strong contrasts; instead everything is in warm browns and golds, to suggest that “good” and “evil” often live in the same tones. The central figures are close together, but the light falls differently on each side, hinting at how perspective changes what we think is right.