| 2000 – 2016 |
Between 2000 and 2010, Indian photography saw a shift from analogue to digital. Reluctant to take a complete swing, but at the same time trying to keep up with the technological advancements, Abul started incorporating digital technology in his works and the resultant hybrid photographic prints are unique in style and content. The experiments of earlier works condensed during the early 2000s into a definite visual language, with the addition of colour as a strong element. Well involved in the Mattanchery art scene that was being brought to life by the collective effort of these locally based artists, Abul Kalam Azad continued his maverick and prolific working style. The focus on micro-history, religion, politics and other recurring themes only become stronger, connecting with each other and emerging as a total worldview that the artist consciously puts forward. Lo-fi images, found photographs and re-usages of earlier works make regular appearances, a definitive presence in the photographic aesthetics and language of the artist.
A majority of works done since 2000 are minimalist monochrome images that are a stark contrast to his earlier multi-media experimental works. During the period 2014 – 2016, Abul Kalam Azad used different new media, such as smartphone photography, and at the same time, continued to use large format, lomographic and other film cameras. Presently, he has reverted back to large and medium format traditional photography. This intentional zig-zagging from one style to another doesn’t allow one to categorise his works and approach into pre-defined brackets.