Tapestry of Images-
LASKAR MAHMUD HUSSAIN
Uma Nair

There is no central image in his works but there is a
teeming of hybrids and all kinds of characters who are
somewhat reminiscent of bygone era tales and import of
fantsy. So there are abstract composites of biomorphic
forms at the right and lower left of the canvases that
anticipate a critical development in Mahmud’s imagery
in the intensity of their own dramas.Mahmud himself
is a virtuoso of delight: good-looking ,not very voluble,
intellectually as well as personally pleasant.
The ideas in him and his intentions seem to be
caught between the pulls of tradition and modernity,
nationalism and liberalism.
“Fantasy plays an important part in my work,” he
says rather dreamily. “Dreams are always churning
inside me , thousands of dreams, for life, for the future,
my past, my present, my insecurities all of these are
reflected in one section that I call the Reflection series.”
Mahmud explains: “In the Sweet Pain series—
the pain I refer to is of life’s struggles. Success,
achievements, fulfillment of desires are often elusive
when you need or want them most. There is a lot that I
have not achieved. There is a lot that I did not receive
when I wanted or needed it, but has come to me much
later. That is the pain I refer to. And when this pain
is overcome, when you succeed in dealing with it or
leaving it behind—this is when it becomes sweet pain.”