Aizawl: There are few people in this world born into the rhythm of art, and Lalthlanchhuaha, most popularly known as Bazik Thlana, Mizoram’s first PhD holder in visual arts, reminds us that such brilliance can blossom anywhere—even in the remotest corners of India, where opportunities are scarce and the spirit of creativity finds its way through. Born in Keitum in Serchhip district, he left home at the age of eight to pursue higher studies.
Thlana started drawing and painting from a young age. After finishing his twelfth grade in 2008, he began coaching for technical entrance exams. It was during this time that he discovered his true passion for art and decided to pursue it professionally, despite not fully understanding its scope or direction. Pioneering a path no Mizo had taken before, he found the courage to pursue art professionally.
Reflecting on his early influences, Thlana shared, “I’ve had a love for art since I was very young. My family, though naturally talented and creative, never pursued art professionally. I fondly remember my dad’s drawing of a fishing scene on our fridge, my uncle’s crayon sketches of wrestlers, and my mom’s intricate flower designs made from seeds. My mother also weaves. Growing up, I experienced both village and city life, but traditional art was scarce—there were no exhibitions or artworks to see, and few books on the subject. However, I had access to comic books, which I truly enjoyed, and this early exposure has significantly shaped my artistic journey and influenced my pursuit of art today,” he shared.
In 2013, Thlana completed his Bachelor of Fine Arts (BFA) at the College of Art, New Delhi. In 2015, he earned his Master of Fine Arts (MFA) from the same institution. He then pursued an M.Phil in Visual Studies at Jawaharlal Nehru University in 2018, followed by an M.Res in Curatorial Knowledge at Goldsmiths College, University of London in 2019. In 2024, he successfully defended his PhD in Visual Arts from the Department of Visual Studies, School of Arts and Aesthetics, Jawaharlal Nehru University. He is currently an Assistant Professor at the Department of Education, Mizoram University.
When asked in an interview in 2020 whether he would be the first doctorate in Visual Arts upon completion, Thlana humbly replied, “I do not know if I will be the first, and I do not think it is quite important to be the first,” and then quickly changed the line of conversation to the growing interest in the field and how more people are beginning to recognize and pursue art.
Thlana has participated in over two dozen exhibitions, including “Indie Comix Festival,” Delhi Edition (2018); “India Re-Worlded: Seventy Years of Investigating a Nation,” curated by Dr. Arshiya Lokhandwala at Gallery Odyssey, Mumbai (2017); and “Urban Implosion: Asian Cities,” ACC Arts Space Network, Gwangju, South Korea (2017).
He was a recipient of the FICA Inlaks Goldsmiths Scholarship for 2018-19 and undertook a year-long M.Res in the Curatorial/Knowledge program at Goldsmiths, University of London. The jury was captivated by Thlana’s research proposal, “Of a Cave that Borrows: Rethinking Collective, Collection, and Collecting.” Rooted in his identity as a member of the Mizo tribe, his proposal explored new ways of understanding and collaboration. In his reimagining, the collective converges in a “cave of learning”—a space for transformation and inspiration.
In his journey as a scholar, one of the biggest challenges Thlana faced was the lack of literature on art in Mizoram and the Northeast. “This lack of writing presents a significant obstacle, making it difficult to establish a foundation for scholarly research. Additionally, conducting interviews with artists is often challenging, as many are not accustomed to articulating their concepts or ideas verbally. This issue is rooted in the prevailing belief that ‘art speaks for itself’ or the notion of ‘art for art’s sake,’ further compounded by the absence of robust academic and public discourses on art in the region.”
However, his involvement in interviews and discussions, coupled with his active role as an art practitioner aided his knowledge production and inquiry process. “Informal conversations during coffee breaks at camps and workshops, and frequent travel between exhibitions and talks, also play a crucial role in my knowledge production and inquiry process. Additionally, participating in various collective projects helps me better understand the complexities of the Northeastern art scene,” he explained.
Thlana exemplifies that talent need not be loud to shine. A quiet and humble man, he speaks of his experiences and achievements only when specifically asked. Yet, there is one thing he is always ready to speak out about: injustice. He passionately voices his stand and demonstrates his commitment through his art.
In 2020, a particular painting from a MADS Exhibition caused a stir. It depicted then Chief Minister Zoramthanga in a blue coat against an orange and green background, symbolizing the link between the MNF and the BJP. The painting by Thlana was hastily removed from the exhibition at Vanapa Hall.
Thlana often uses art as a form of resistance. “I use the concept of resistance in multiple contexts, one of which involves challenging established norms and rigid categories. For instance, the relegation of ‘craft’ as opposed to ‘fine art’ reflects an inherent hegemony in these types of categorizations and imposed labels, which need to be resisted and challenged. The contemporary art scene is often shaped by dominant culture, and terms like ‘folk,’ ‘tribal/traditional art,’ and ‘craft’ carry an element of epistemic violence. Resistance, in this sense, involves challenging cultural hegemony and these reductive labels.”
“Another aspect is political resistance—opposing authoritarian, divisive, or abusive power structures. Here, art becomes a powerful tool of protest and dissent, serving as a means to challenge power dynamics and show solidarity with those affected. In this way, resistance is not only about confronting cultural norms but also about using art as a vehicle for political activism and social justice,” he added.
Thlana discussed visual culture and art, noting its dominance, especially with the rise of electronic media and social platforms. “While visual art serves as a form of archiving—particularly in cultures with strong oral traditions—it can also introduce rigidity. In visual representation, there is a risk of creating hierarchies, such as the Lusei-centric overrepresentation that often overshadows the diverse Mizo sub-tribes and cultures. For instance, in textiles, Lusei clothing is frequently positioned as the primary identity marker for Mizos as a whole, which can marginalize the unique traditions and identities of other Mizo sub-tribes.”
As a staunch supporter of marginalized communities, Thlana expressed concern that the rise of visual art might undermine orality. “I worry that this could potentially undermine the essence of orality, which is inherently fluid and dynamic. This concern extends to my own experience as a visual artist; I am uneasy with the predominance of visual culture, recognizing that certain sensory perceptions, like sight, can be hegemonic. The adage ‘seeing is believing’ reflects this bias, as visual evidence is often regarded as more credible. But what happens to the validity of people’s testimonies or accounts of injustices that aren’t visually documented? This reliance on the visual risks marginalizing non-visual experiences and narratives, which are equally valid but may not be as easily archived or recognized in the visual domain.”
Currently, Thlana is working on a project exploring sleep and affect, particularly sleep paralysis. This work delves into the concept of political resubjectivation and examines the interplay between nationalist politics in India and the shifting conditions of sleep and wakefulness.
“By investigating the ‘ends of sleep,’ I aim to explore how mechanisms of political nationalism correlate with experiences of sleep paralysis—a common yet often overlooked parasomnia. The project traces the origins of entities associated with the night-mare, historically linked to sleep paralysis, and examines the cultural, social, and religious contexts that shape these experiences. Positioned at the intersection of the liminal states of sleep and wakefulness, the supernatural and the natural, this project aims to weave together the intricate connections between mind and body, as well as the interplay of biology and culture. Through choreography and movement-based practices, I seek to explore and manifest these themes, addressing contemporary human conditions and the metaphorical ‘devils and demons’ that disrupt our autonomy and agency in today’s world.”
He is also working on two other projects: a hand-drawn animation project recounting the stories of the Aizawl bombing and the troubled years that followed, aiming to connect political histories with Indigenous knowledge and storytelling from the perspective of a cultural insider; and setting up a studio where he experiments with film, alternative photography, and image-making techniques.
His artwork often explores themes of identity and statelessness, as demonstrated in his piece Liminal Spaces: Places of Belonging, which was showcased under the Curatorial Intensive South Asia (CISA) program by Khoj International Artists’ Association in partnership with Goethe-Institut/Max Mueller Bhavan. In this work, Thlana used wood (Charpoy and Deck Chair), barbed wire, and a sound ensemble to illustrate the tension and confinement experienced by NRC-affected individuals. The barbed wire, symbolizing the Devil’s rope, represented the liminal space dividing two lands, reflecting their statelessness and disorientation. The term “Night-mare,” historically linked to sleep paralysis, described the intense fear and paralysis occurring during REM sleep, the state between sleeping and waking. This exploration also highlighted how right-wing politics exacerbate the common but often overlooked condition of sleep paralysis, which, while associated with narcolepsy, is significantly worsened by panic disorders, PTSD, and general stress.
He also worked on a project titled Rih Dil Titi, which centers on identity and focuses on Rih Dil, the largest lake of the Mizo people, located within the Myanmar boundary as determined by the British. The project included artworks such as images, maps with text and codes, and served as a portal to an online archive of essays, websites, and other materials. These resources delve into the complexities of the ‘Mizo/Chin’ identity, its colonial legacy, and stories of human rights abuses and the isolation of ethnic groups in Mizoram and Myanmar. This project was featured in the exhibition A-PART: Stories of Lands and Lines, curated by Zero Gravity Collective at Akar Prakar Contemporary in New Delhi in August 2019.
Thlana’s past projects and future plans clearly demonstrate his dedication to both societal impact and the advancement of art in Mizoram. And it is his goal to emphasise that artists are not merely decorators or commodities to be bought and sold.
“While we often express our love and admiration for art, I believe society still underestimates the true value and place of art. Artists are frequently relegated to creating beautiful images to adorn walls, with their role reduced to mere decoration. Due to a lack of proper discourse, exhibition opportunities, and funding, art is often confined to commercial pursuits. However, there is a growing vibrancy among the younger generation, who are leveraging social media as a powerful tool to share their work and sustain themselves financially. This gives me hope that, in the near future, there will be a broader public interest in art that goes beyond what can be bought and sold.”
In response to the need for a broader appreciation of art’s role in society, he expressed his personal commitment to driving change through various initiatives. “I am committed to contributing to this shift, whether through building discourses, organizing hands-on workshops, or initiating projects and discussions. I have conducted and organized such endeavors before. I also run a blog where I write about these topics, and I hope that these small efforts can play a part in the evolution of art in Mizoram,” he said.
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