Khaldi’s paintings convey theatricality in their portrayed subject matter and in their physical construction. Alongside modern influences such as the German Expressionists, Khaldi cites Persian miniatures as an interest in developing his work. His large-scale canvases evoke similarity to this ancient tradition in their geometrically balanced compositions, overwhelming detail, and flattened sense of space. In The Infinite And Beyond the image becomes almost secondary to the spectacle of its making. The landscape is rendered with luscious mimetic sensibility: water created from thin liquidy washes, sky rendered with breezy-smoggy strokes, earth with dirty fields, and trees as shady patterns cut through with spindly twig-like gestures. The wall and building in the distance seem conspicuously solid in relation to their organic surroundings. The figure in the foreground is an almost ghostly apparition, his facial features duplicated, and arms heavily outlined in white suggest movement.