Nine years in the making, Mahtab Hussain‘s latest exhibition ‘You Get Me?’ is both a testimony to the amount of time required to create a body of work of this breadth but also to his own artistic commitment to a line of enquiry. What began as series of chance encounters on the streets of his hometown of Birmingham in 2008 evolved into a journey across the UK on a mission to create a fuller picture of what it means to be a British muslim working class man today.
Hussain sees his work as firmly rooted in a tradition of British portraiture, citing his time working at the National Portrait Gallery and his MA at Goldsmiths in Art History where he specialised in Post Colonial studies as equally influential in shaping his understanding of transformative possibilities in art, but also enabling him to experience first hand the lack of work reflecting the British – Asian experience. Seen together, they explain his drive to pursue projects which create a place for his subjects in visual history, to fill a gap where representation is either missing or a product of misinformation.
With his subjects now immortalised in an upcoming book published by Mack alongside the exhibition this May at Autograph ABP, his term long-term engagement with the community and empathy with his sitters has clearly paid off, ‘I don’t think work can be made any other way, it is about getting to know one another, sharing stories’ he tells me. Ahead of the show, we spoke to Hussain about the enduring power of fine art portraiture, masculinity in the 21st Century and the complex relationship between identity, heritage and displacement, themes which his work navigates.
The release for the exhibition describes the portraits as exploring the identity of young ‘Working class’ – rather than just ‘Asian’ men. Can you talk a little about the idea of ‘class’, ‘working class’ and why it’s an important factor in the work?
I believe class plays a critical role in understanding the work. In general, the working class communities of Britain have had to go through real change, essentially from the 80’s onwards which itself was an incredibly destructive time for British society as a whole. Margaret Thatcher and her government purposely broke down community and fostered the idea that there is no such thing as society, livelihoods were destroyed and the unions were dismantled. We were told we should embrace the individual in Britain and the self-made man and woman, which was in direct conflict with the working class concept of community, sisterhood, brotherhood and family. From a migrant perspective, this notion of individualism crushed one of the defining pillars of their culture too, one that advocated for a strong, supportive, collective society, so this era jarred with them considerably as they eventually experienced the same loss of community and society, alongside harbouring feelings of alienation.
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