Before India’s independence, social contradictions intensified, and Hussein was growing up in such an environment, so his fate is also like this era, full of contradictions and criticism, wandering rootless as the portrayal of his life.
Why? This can be traced back to 1996, when Husain was at the top of India’s fame, especially the popularity of the tower. However, in this year, his reputation in India has changed dramatically. Because some of his early works appeared nude Indian goddess, which was exposed by the magazine. Although such a naked image is not uncommon in ancient art works, it happens that Husain was born into a Muslim family (obedient to Allah). So in many people’s eyes, these mean and gloomy works are his disrespectful treatment of sensitive themes, for which all criticism, abuse and clamour have attacked him.
India’s populists launched a vicious offensive against him – denigrating his country, immigrating to another country, changing his nationality and face to face, all became mandatory labels for him. Who can understand that his self exile, as he caused controversy in India, is not his subjective choice.
But in fact, he still chose to forgive, choose to leave his beloved hometown, and seek refuge from loneliness in the lines and colors of painting. Perhaps, he realized the importance of this experience, continued to sketch and draw what he dreamed of. However, the image of ordinary life has become a part of him as an artist, giving him courage and strength.
This growth has made Hussein’s vision more deeply rooted. We can call him a “conscious artist”. He not only blends the local tradition and multiple folk elements from the beginning, but also pays close attention to Indian literature, presenting a wide range of themes covering profound and extraordinary, which he has been emphasizing to the audience. Maybe we always think it’s too broad, but to recombine to adapt is to promote and develop modern Indian art in a real sense, to create a special place or art field, thus as a common belief.
The first time he came into contact with a real horse was when he and his grandfather came to a factory for repairing horse iron shoes and watched the people and horses coming and going in the shop. He was fascinated by the spirit of freedom of horses.
We can feel that the two elements of umbrella and horse have been lingering in his life and even in his pictures. Maybe the safety of umbrella as a temporary shelter can make him feel at ease. Regardless of the level, it will treat people equally and provide shelter from wind and rain. But like him, the horse, no matter what kind of seeking or fighting, is just as rare as Husain It is through these elements that Hussein becomes a complex theme in his paintings.
Why does he put these two elements throughout? This must be his desire for a kind of protection. Even if the protection is continuous, the reality is still harsh on him, and he must survive in a free and easy way to fight against it. We can understand that this is to express a relaxed friendship between people and animals, a symbol of horse’s bravery and fortitude, but on the contrary, we emphasize that horse and art are the consolation from his spiritual world.
He has also designed many wooden toys, perhaps inspired by the birth of his first daughter. These handicrafts and his experience have become Husain’s purpose as an artist, not only from his stories, but also from his paintings.
Interestingly, he often wore a high-end customized suit, went barefoot everywhere, and even was rejected by the high-end nightclub, but he still went his own way. He has never had his own studio. He always lives where the canvas is spread, which leads to paying for the damage to the floor and walls of the room when he lives in a hotel.
We even think that he is a little weird. For example, his works seem to be mixed with Dali dream and Picasso’s sensitivity to the picture. Such picture arrangement is very similar to his eccentric personality. Therefore, in his interpretation of his style, they are full of vitality and have become the hallmark of Husain.
This lively color makes artistic processing of Indian materials by hand. At the same time, it has European contemporary art style and strong Indian color. Although Husain lived abroad in his later years and won many international honors, it didn’t become the reason for the motherland to accept him, but it seems that the artist himself didn’t care, but gave back to his motherland in the best way, so we could interpret it in multiple ways.
