By integrating diverse artistic expressions, the exhibition—All That is Hidden: Mapping Departures in Landscape, Terrains and Geographies organised at Emami Art, Kolkata—encourages contemplation on ‘landscapes’ in light of our ever-evolving socio-cultural and political perspectives, as evident in Kerala-born artist Ali Akbar PN’s works in the show. The pieces include a study from an archive photograph titled Lion of Babylon, a couple of paintings from his Chonaka Kkuthira series, and the photographic series Bank of Rukmavati.
Akbar does not consider photography and painting as fundamentally opposed mediums. He sees photographs, whether taken personally or acquired, as initial tools for documentation. Nevertheless, he also sees them as adaptable resources capable of forming the groundwork for his paintings, permitting seamless adaptation and alteration when necessary.
The 28-year-old Vadodara-based artist says, “I am intrigued by the potential of layering and manipulating image contexts, creating works that could be both visually and emotionally engaging on a personal level. Through various mediums, I aim to convey a sense of continuity within images and to explore the concept of slow movements, a theme that also permeates my video creations.”
The making of his sensibilities, in addition to his formal art college training at Thrissur and Vadodara, stems from his extensive involvement with an NGO, Western Ghats Hornbill Foundation, where he encountered numerous fine art graduates from diverse backgrounds. Growing up and working in a predominantly working-class neighbourhood, he keenly felt the pressure for individuals to distinguish themselves to attain dignity within communities where class and caste intersected. This realisation deepened his understanding of social hierarchies.
Akbar’s artistic journey is marked by the palpable texture of his paintings, reminiscent of the works of Anselm Kiefer, whom he admires for his minimalist and raw landscape compositions. Like Kiefer, he employs deep textures to dissect his subject matter, creating a sense of depth within his images. Albeit on a more intimate scale.
In a different context, Akbar’s monochromatic photographs taken along Gujarat’s Rukmavati River portray the region’s rich heritage and syncretism, especially through the relics of a Sufi past—images of deserted mosques and maqbaras. Like the invisible sediments carried in the currents of Rukmavati, though not perceptible as a painted layer, the lingering secular sayings of revered figures like Kabir, who continue to hold significance for both Hindu and Muslim fishermen of the area, leave an imprint on the photographs.
At the heart of his practice lies an engaging exploration of duality—past versus present, appearance versus disappearance—grounded in the coastal imagery of his upbringing. By seamlessly navigating these complexities in his works, he offers viewers an intricate narrative of history, memory, and identity, encouraging them to challenge singular interpretations.
