An Artist Drawing the Present Continuous Tense

In Conversation with Zakkir Hussain

Zakkir Hussain’s art is a dialogue – an ongoing exchange between instinct and restraint, chaos and order, the individual and society. Through his work, Hussain interrogates the complex tensions between human impulses and the societal structures that attempt to regulate them. Originally from the Alappuzha district of Kerala, his art emerges as a bold challenge to the status quo, a means of questioning the world as it is, while imagining what it could become.

When I first met Zakkir Hussain, I was intrigued by the quiet intensity with which he engaged with his surroundings. As the program coordinator at the Dravidia Gallery, I had the opportunity to observe his meticulous preparations for the gallery’s reopening show, Ark and Other Works. But it wasn’t until I visited his studio that I truly began to understand the depth of his artistic practice. Amidst the works in progress, surrounded by past exhibitions’ pieces, I found myself captivated by his unique language—both in terms of how he titled his art and how he approached drawing as an act of continuous exploration.

Our conversation began organically, sparked by my curiosity about his drawings. As we talked, Zakkir casually remarked that his drawings were like a “present continuous tense,” an apt metaphor for the fluid, ever-evolving nature of his art. This idea resonated deeply with me, shaping the direction of our interview, where I sought to uncover more about the man behind these thought-provoking works.

In this dialogue with Zakkir, you will notice the reflective tone of our exchange. His responses are not only about art but about life, memory, and the meaning we derive from our experiences. Hussain’s art is never static; it moves, shifts, and grows—much like the questions I posed to him and the thoughtful, layered answers he provided. Through this conversation, one gains not only an understanding of his process but a window into the mind of an artist who is constantly pushing boundaries and exploring the unknown.

Q: How did your upbringing influence your artistic perspective?

Zakkir Hussain: I was born and raised in a family involved in the seafood business and fireworks for churches and temples. My family also worked in agriculture, and I received madrasa education in my childhood. At the same time, our home welcomed people from different backgrounds and economic situations.

We had a unique freedom where people from various religious backgrounds mingled together. This was crucial for me, as it helped me understand the economic, social, and cultural realities of others through healthy interactions, free from discrimination. These experiences profoundly impacted my artistic journey. I remember reading Narayana Guru’s observations on small-scale industries and how legendary Malayalam poet Kumaran Aasan established tile factories near Aluva. Small-scale industries, in my view, foster cooperation, overcoming the barriers imposed by the caste system. During that time, the caste system was rampant, and industries helped people transcend these divisions.

I also recall Ustad Bismillah Khan playing the shehnai in front of the Kashi Vishwanath temple, an act of profound intercultural beauty. Sadly, such exchanges are now rare in our cultural landscape.

My father, despite being from an Islamic background, maintained excellent relations with temple and church committees. We observed Moulood and Ratheeb rituals at home, creating an open, inclusive atmosphere.

In my teens, a friend approached me to design posters aimed at communicating political ideas through poems and images. He translated poetry from American, African, and modern Malayalam poets. Unlike typical slogan-heavy posters, he asked me to illustrate the poetry. This experience showed me the power of art in reaching deeper layers of human experience and societal critique.

Through poster-making, I understood that art can convey complex messages without being overtly propagandistic. Art can be a poetic expression that resonates with people at an emotional level.

I also had the opportunity to explore works by Pablo Neruda, Octavio Paz, Rainer Maria Rilke, Dostoyevsky, Tolstoy, as well as modern Indian and Malayalam poetry and literature through the Samskara Library in Eramalloor. This exposure to diverse cultural and literary influences broadened my outlook.

When I joined the BFA painting program at the College of Fine Arts, Trivandrum, in 1991, I encountered numerous students and artists who played a crucial role in shaping my sensibility. The college library, classes, senior artists, and poets all contributed to meaningful interactions that broadened my view of the world.

Baroda, where I pursued higher studies, further enhanced this understanding. It was a large venue for film exhibitions and discussions on studio practice, which shaped my artistic language significantly.

Q: What are the challenges you face in your journey as an artist?

Zakkir Hussain: I grapple with several challenges. One of the primary difficulties is translating my thoughts into drawings while maintaining control over the narrative and conveying the intensity of my message. Additionally, I must resist falling into mediocrity and exercise caution when integrating imagery into my work.

I also contend with the complexities of contemporary life, where even language presents its own hurdles. Furthermore, navigating the dominant cultural landscape is challenging, as it often marginalizes alternative perspectives. The reality we live in is shaped by societal norms that limit opportunities for meaningful critique and dialogue.

Another challenge is transforming drawings into three-dimensional forms. This involves finding suitable materials that spark creativity and navigating the cultural mainstream, which is heavily influenced by dominant ideologies.

Q: How do you see your work impacting societal conversation?

Zakkir Hussain: My work challenges the existing social structure and strives to create a social impact within a fragmented and disturbed landscape. How can marginalized voices be amplified in a system where creative expressions are often categorized as “other”? Systemic oppression hinders my work’s impact. Political homogenization silences marginalized voices, and the dominant culture dismisses alternative perspectives as “inferior.” How can artistic expressions challenge these narratives and reach broader audiences?

Q: Can you elaborate on the concept of “Citizen” in your recent body of work, Citizen: Obliterated Stories?

Zakkir Hussain: The government recently introduced regulations that deny citizenship to individuals from certain communities arriving in India. This exclusion contradicts India’s democratic and secular values. I believe these laws disproportionately target the Muslim community, exacerbating their marginalization. I address these issues indirectly through my works, hence the title, Citizen: Obliterated Stories.

This body of work is not just about the segregation of Muslim identity but also the creation of societal divisions, fostering uncertainty, and degrading the status of marginalized groups. We saw these patterns during the Gujarat genocide, and similar economic and social collapses have occurred in Delhi and Godhra. The Citizenship Bill imposes a new caste system that suppresses marginalized communities economically, culturally, and socially.

Q: Your work Exiled Homes reflects themes of exile, displacement, and urbanization’s impact. Were you aiming to trigger social dialogue, or was it purely a form of personal expression?

Zakkir Hussain: It’s both. My 2003 exhibition, Exiled Homes, held at Draavidia Gallery and curated by Cathleen Wyma, marked a pivotal moment in my artistic journey. This seminal work featured a striking portrayal of a woman carrying numerous houses on her body, symbolizing the profound effects of urbanization on both space and human lives.

The partially concealed female figure in the artwork serves as a powerful metaphor, blending personal and political narratives. This artistic choice encourages the viewer to reflect on the complex relationships between identity, community, and the built environment.

By addressing these real-life themes, Exiled Homes fosters a nuanced dialogue on the human cost of urbanization. Through this piece, I sought to provoke critical discussions around the social, cultural, and economic consequences of urban expansion.

Q: How do decentralized, thriving spaces inspire your work?

Zakkir Hussain: Traditional imagery can inadvertently reinforce existing power dynamics, rather than challenge them.

I aim to disrupt this cycle by capturing the essence of marginalized lives during turbulent times. My art amplifies the voices and stories of those who have been silenced, ignored, or erased from dominant narratives. In doing so, I hope to foster a more nuanced and inclusive understanding of our world.

I strive to go beyond superficial depictions of social injustices, delving deeply into the complexities of marginalized lives. My goal is to craft a visual language that is raw, honest, and unapologetic—one that compels viewers to confront the harsh realities faced by marginalized communities.

Q: Are the figurative and symbolic elements in your work drawn from your immediate environment, or do they come from a broader context?

Zakkir Hussain: The metaphors in my work—people, birds, animals, clothing, and electrical objects—are drawn from my surroundings. The birds, dismembered animal bodies, human figures, and anatomical elements are all inspired by the environment around me.

These images are often placed against idealized landscapes, while the figures and symbols stand precariously on broken electrical items and plumbing materials. These discarded objects, far from being functional, symbolize marginalized, ghettoized spaces.

Through my work, I attempt to highlight the struggle for space that I witness in my surroundings.

Q: Does the title Hovering Over the Local Landscape represent a bird’s-eye perspective in your artistic process?

Zakkir Hussain: To explain my artistic process, I must first describe how I arrived at the imagery of Hovering Over the Local Landscape. This landscape reflects the transformation of the city, particularly during the 1990s, when a real estate boom led to the rise of new apartment projects. As the city expanded, people were forced to leave their homes to find new places to live, which had a profound impact on those whose livelihoods—like fishing—were closely tied to their surroundings.

As people abandoned these spaces, paddy fields were transformed into towering buildings, symbolizing the city’s so-called “progress.” This transformation is linked to the history of the land mafia, and I pondered how to portray this reality in my work. Observing these developments regularly in my environment, I extended the theme of exile, previously explored in Exiled Homes, by employing the apartment as a symbol this time.

In Hovering Over the Local Landscape, I depicted buildings stacked on top of one another, while figures representing small nuclear families (parents and one child) hover above. These suspended figures evoke a sense of rootlessness and alienation from their original homes.

The tension in these images is reflected in the title Hovering Over the Local Landscape. The placement of the three figures signifies a detachment from society—a deviation that embodies alienation: from place to place, from person to person, and from communication within the social sphere.

I visually represent this tension through an unconventional approach, departing from traditional perspectives. This unique visual method is evident in the specific work, where I applied a kind of “helicam” view to the composition.

Q: Your body of work often reflects internal, invisible pain and feelings of displacement. Do you believe the root causes of these issues are also invisible?

Zakkir Hussain: Yes, absolutely. The root causes of this pain are invisible, which is why I create a sense of uncertainty in my work. The reasons behind such suffering aren’t always evident in day-to-day life. Certain groups of people are continuously haunted and targeted by the system. These systemic forces create societal divisions, which have ideological consequences and leave some individuals alienated.

It’s a life of uncertainty. One day, people may feel they are living in a secure, free environment, only to be attacked by friends or neighbors the next day. These issues aren’t visible on the surface because nations create boundaries among people to maintain power. To sustain these power structures, they must enforce such divisions.

As an artist, I see myself as a bridge between the invisible and the visible, revealing what lies beneath the surface. My goal is to uncover the unseen, give voice to the silenced, and draw attention to the overlooked.

Zakkir Hussain’s artistic journey is one marked by constant evolution. His work transcends boundaries, challenging societal constructs while exploring the depths of human experience. Over the years, Hussain has showcased his art in a variety of prestigious exhibitions, both in India and abroad.

From early shows like Fragments from the Devastated Land (Draavidia Art Gallery, Kochi – 1997) and Emerging from the Womb of a Scapegoat (Kaashi Art Gallery, Mattancherry – 2007), to more recent displays such as Procrustean Possibilities (The Guild Gallery, Mumbai – 2018) and Citizen: Obliterated Stories (BERTH, Kochi, Kerala), Hussain’s work has continued to resonate with audiences across the globe.

His international presence has grown significantly with exhibitions such as Contemporary Art from India (Lapidarium, Croatia – 2024) and Citizen: Obliterated Stories (Kunstdepot, Switzerland – 2024). His contributions to art have not gone unrecognized, as evidenced by awards like the AIFACS Award for Drawing (1997), the Kerala Lalithakala Academy State Award for Drawing (2000), and the Junior Fellowship from the Kerala Lalithakala Academy (2012).

Each of these exhibitions and accolades reflects a distinct chapter in Zakkir Hussain’s ongoing story—one that, much like his drawings, remains in a state of “present continuous,” never fully complete but always in the process of becoming.