Canvas of unrest
When a young artist like Rahul Buski creates paintings that deeply resonate with the Adivasi community's enduring struggles in Kerala, it is not coincidental but strictly personal and profoundly political.
An Adivasi from Wayanad, Rahul's creative vision is rooted in stories of resistance and oppression that he heard growing up—especially from his father, Ramesh, one of the key leaders of the Muthanga land agitation. These formative experiences have deeply informed Buski's artistic journey, lending his work a rare urgency and authenticity.
Now an MFA graduate from the College of Fine Arts, Thiruvananthapuram, 27-year-old Buski's work focuses on documenting and interpreting traditional Adivasi art forms. His paintings uncover multi-layered meanings and cultural contexts, exploring how these practices can become powerful tools of resistance and renewal.
When I paint, I use my body as a brush—often without even realizing it. Every stroke carries emotion and memory,' says Buski. 'While working on paintings about land struggles, I could feel the pressure building in my arms. I incorporate land, identity, and indigenous struggles in my artistic practice.'
His paintings are not just about visual expression—they are extensions of his lived experience as an indigenous artist. 'My creative journey arises from the intergenerational realities of land alienation, cultural marginalization and ecological disconnection—conditions historically imposed upon Adivasi communities in Kerala,' he says.
A striking feature of Buski's work is his use of the stroke—not just as a technique, but as a symbolic and political gesture. 'I employ a wide range of strokes—short, long, structured, chaotic, cross-hatched—depending on the emotional resonance of the subject. These strokes are not merely aesthetic marks but performative acts that construct meaning through rhythm, pressure and repetition. They give form to the fragmented histories, anxieties and resilience of my people.'
He draws inspiration from the daily life of Adivasi communities—their rituals, resistance and cultural expressions. Several of his paintings engage with key events such as the Muthanga struggle, Chengara land agitation, Aralam protest and Nilpu Samaram. 'Such works not merely represent protest but participate in it,' he says. 'The aim of my art is to raise awareness, build empathy and provoke dialogue around civil rights, ecological justice, caste-based oppression and indigenous autonomy.'
Artists like Buski do more than create—they intervene. Their lives and work are intertwined with the world they seek to change. Art, for them, is not a detached medium; it is the most potent language of protest. 'My art stands as a multi-layered testimony—a visual archive of ancestral memory, a record of present resistance and a vision for future justice.
It arises from protest, from silence, from survival, from hope,' he reflects. 'It seeks to affirm the dignity of indigenous life, reclaim suppressed narratives, and envision a world where our land, voices and stories are not just seen—but truly recognized.'
Any serious conversation around Adivasi communities remains incomplete without addressing their relationship with the environment—a connection at the heart of Buski's practice.
His work captures the tense interplay between humans and nature, particularly in a state like Kerala where development often comes at the cost of forest lands and tribal homes.
Among his paintings, Eucaly stands out—a vivid, layered work that portrays the ecological and emotional consequences of forced displacement. It speaks not only of loss but also of protest and deep-rooted connection to the land.
Another compelling work is Thalum, Thakarayum, Ratti, which explores themes of displacement, identity, and resistance through the use of earthy tones and expressive figures. It vividly portrays the deep, ancestral connection between tribal communities and nature — a recurring thread in Buski's visual language.
Akhiljith, lecturer in painting at the College of Fine Arts and a close observer of Buski's work, sees a deep, organic link between the artist's past and present. 'When the Muthanga struggle happened, Buski was a child.
All his images are rooted in his community and childhood experiences. His images stand in opposition to elite visual culture. He uses black drawings and bright colours to communicate. His work is a visual translation of the issues faced by his community. Images of people without legs and heads symbolize resistance.'
His paintings are currently on display at the MFA degree show '25, titled Rooms Without Walls, at the College of Fine Arts, Thiruvananthapuram. The exhibition is open until Sunday.
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Canvas of unrest
Artist Rahul Buski turns resistance, memory and identity into powerful visual expression When a young artist like Rahul Buski creates paintings that deeply resonate with the Adivasi community's enduring struggles in Kerala, it is not coincidental but strictly personal and profoundly political. An Adivasi from Wayanad, Rahul's creative vision is rooted in stories of resistance and oppression that he heard growing up—especially from his father, Ramesh, one of the key leaders of the Muthanga land agitation. These formative experiences have deeply informed Buski's artistic journey, lending his work a rare urgency and authenticity. Now an MFA graduate from the College of Fine Arts, Thiruvananthapuram, 27-year-old Buski's work focuses on documenting and interpreting traditional Adivasi art forms. His paintings uncover multi-layered meanings and cultural contexts, exploring how these practices can become powerful tools of resistance and renewal. When I paint, I use my body as a brush—often without even realizing it. Every stroke carries emotion and memory,' says Buski. 'While working on paintings about land struggles, I could feel the pressure building in my arms. I incorporate land, identity, and indigenous struggles in my artistic practice.' His paintings are not just about visual expression—they are extensions of his lived experience as an indigenous artist. 'My creative journey arises from the intergenerational realities of land alienation, cultural marginalization and ecological disconnection—conditions historically imposed upon Adivasi communities in Kerala,' he says. A striking feature of Buski's work is his use of the stroke—not just as a technique, but as a symbolic and political gesture. 'I employ a wide range of strokes—short, long, structured, chaotic, cross-hatched—depending on the emotional resonance of the subject. These strokes are not merely aesthetic marks but performative acts that construct meaning through rhythm, pressure and repetition. They give form to the fragmented histories, anxieties and resilience of my people.' He draws inspiration from the daily life of Adivasi communities—their rituals, resistance and cultural expressions. Several of his paintings engage with key events such as the Muthanga struggle, Chengara land agitation, Aralam protest and Nilpu Samaram. 'Such works not merely represent protest but participate in it,' he says. 'The aim of my art is to raise awareness, build empathy and provoke dialogue around civil rights, ecological justice, caste-based oppression and indigenous autonomy.' Artists like Buski do more than create—they intervene. Their lives and work are intertwined with the world they seek to change. Art, for them, is not a detached medium; it is the most potent language of protest. 'My art stands as a multi-layered testimony—a visual archive of ancestral memory, a record of present resistance and a vision for future justice. It arises from protest, from silence, from survival, from hope,' he reflects. 'It seeks to affirm the dignity of indigenous life, reclaim suppressed narratives, and envision a world where our land, voices and stories are not just seen—but truly recognized.' Any serious conversation around Adivasi communities remains incomplete without addressing their relationship with the environment—a connection at the heart of Buski's practice. His work captures the tense interplay between humans and nature, particularly in a state like Kerala where development often comes at the cost of forest lands and tribal homes. Among his paintings, Eucaly stands out—a vivid, layered work that portrays the ecological and emotional consequences of forced displacement. It speaks not only of loss but also of protest and deep-rooted connection to the land. Another compelling work is Thalum, Thakarayum, Ratti, which explores themes of displacement, identity, and resistance through the use of earthy tones and expressive figures. It vividly portrays the deep, ancestral connection between tribal communities and nature — a recurring thread in Buski's visual language. Akhiljith, lecturer in painting at the College of Fine Arts and a close observer of Buski's work, sees a deep, organic link between the artist's past and present. 'When the Muthanga struggle happened, Buski was a child. All his images are rooted in his community and childhood experiences. His images stand in opposition to elite visual culture. He uses black drawings and bright colours to communicate. His work is a visual translation of the issues faced by his community. Images of people without legs and heads symbolize resistance.' His paintings are currently on display at the MFA degree show '25, titled Rooms Without Walls, at the College of Fine Arts, Thiruvananthapuram. The exhibition is open until Sunday. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.
