‘Acha dikhta haina, khatam hogayi baat’: Salman Khan says his paintings are over scrutinised just because he is famous

Can art really be made on “auto-pilot”?

Psychologists say this “auto-pilot” Salman refers to isn’t accidental. According to S. Giriprasad, psychologist at Aster Whitefield, when a creative act is repeated over time, the brain stops treating it as a task of conscious effort. Instead, it starts seeing it as a familiar routine. “Neural pathways associated with movement, colour selection and emotional expression get thoroughly practised,” he explains. Over time, this allows a person to slip into a flow state.

“Flow is a mental space where they are deeply absorbed, self-critical thoughts quieten, and actions feel automatic. In this mode, painting becomes almost meditative. The mind relaxes, emotions find a channel, and the act itself feels grounding rather than effortful.

 

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“There is no single emotional state required for painting. Some people paint to express strong emotions — sadness, joy, anger, longing — while others paint precisely to escape overthinking. Auto-pilot painting often happens when the goal isn’t perfection but presence. On such days, the brush moves before the mind has fully ‘decided’, and that’s completely healthy. In fact, many psychologists see this as a form of emotional regulation, where creativity helps the brain process feelings without needing words.”

Salman’s description fits this almost exactly. He doesn’t speak of planning, emotional preparation, or intention — only ease. But the ease doesn’t extend to how his work is received.

The side effects of fame

“Because my name is Salman Khan, I am an actor, so again I have been analysed by artists and psychiatrists for my emotional conditions and my emotional status. Ki yeh kis mind frame mein hoga jab… inmein kitna angst hai inki work mein… iiske stroke bahut hi galat ha…”

This, Giriprasad says, is a classic side-effect of fame intersecting with creativity. When a public figure creates art, the audience often stops seeing it as a personal outlet. “People no longer see the art as a simple creative outlet but rather as a ‘statement’ made by the artist in the viewer’s mind,” he says. The work becomes a canvas not just for paint, but for projection — curiosity, judgment, and imagined psychological depth.

Salman’s irritability is evident as he cuts through the analysis with blunt clarity. “Acchha dikta hai na? Khatam ho gayi baat.” From a psychological perspective, this frustration and a boundary are natural. Giriprasad explains that excessive interpretation can slowly strip creativity of its safety. “Too much critical observation is capable of removing the creative play and the feeling of security from the creative expression,” he says. Over time, the creator may feel watched rather than free — creating to explain, rather than to feel.