Hai-Seen-Hai-Noon 1978

Editor: Here we have M.F. Husain's "Hai-Seen-Hai-Noon," a 1978 watercolor and coloured pencil piece. It feels like a dreamscape, with abstracted figures and soft washes of colour. I’m particularly struck by the way the horses are rendered – almost like cutouts. What do you make of it? Curator: It's fascinating to consider this piece through the lens of materiality. Notice the very visible hand of the artist – the strokes of watercolour and pencil aren't hidden but rather celebrated. How does the visible process of creation change our understanding of the work? Editor: That's interesting. It makes it feel less precious, maybe more about the act of creation itself rather than a finished product. Curator: Exactly. Think about the accessibility of watercolor and coloured pencil, relatively inexpensive and readily available materials. Husain, working within a post-colonial Indian context, might be deliberately using these everyday materials to democratize art-making. Is he making a statement about the accessibility of art, both in its production and consumption? Editor: I see what you mean. It's not grand oil painting; it’s something much more immediate and relatable. Do you think the abstraction plays into this at all? Curator: Absolutely. Abstraction removes the need for highly specialized artistic training. The focus shifts from representational skill to the manipulation of material and form. Consider the labour involved in creating this piece; it’s evident and approachable, less about virtuosity and more about process. Editor: I hadn’t thought about the connection between the materials and the message like that before. It reframes how I see not just this piece, but also art made with similar media. Curator: It opens up interesting avenues for interpretation, doesn’t it? We move beyond simply looking at the image to considering the social and economic implications of its creation.