This piece is part of the Mehfil folio, which features original art by Jasjyot Singh Hans.

In addition to showcasing prose, poetry, and a play excerpt, all of which broaden the possibilities of what it means to gather, to remember, and to celebrate, Mehfil also features the sumptuous illustrations of Jasjyot Singh Hans. After studying animation film design at the National Institute of Design, Ahmedabad, Jasjyot completed an MFA in illustration practice from Maryland Institute College of Art, Baltimore. His work, which draws on the vibrant worlds of fashion, music, and pop culture, offers a unique and sensitive lens to revisit the past as well as reinterpret our current moment.

The digital and hand-drawn images, done on paper in pencil and ink, that accompany each contributor’s work, were created between 2017 and 2024. Together with दूरी (Doori)/ Distance, which was originally created for this folio, Jasjyot’s images offer us a chance to reflect on the moments of inward looking that arise when bodies gather together, or when they miss the ones they so desire. His illustrations give shape and definition to the space that seems to linger between the figures on the page, or even the space contained within one character herself. Says Jasjyot, “Ever since I was young, I loved observing people. I loved building characters, and imagining the conversations they would have.” It is this realm of imagination, this field of both intimacy and distance, that Jasjyot’s work captures so gorgeously, and that makes his illustrations such an enlivening addition to the writing included in the folio.

An interview with Jasjyot, whose work has been featured in shows in the U.S., India, and Europe, and whose clients include the New Yorker, Vogue India, and Sabyasachi Couture, appears below.

Rajat Singh (RS)

How do you approach creating a new illustration or project?

Jasjyot Singh Hans (JSH)

I follow a “form follows function” approach to my work, but that’s the design training in me. I’ve been trying to break away from that to create more freely, but maybe I’m just equal parts artist and illustrator/designer. A lot of times, if it’s personal work, it can start from a form, posture, or mood. I scribble out variations ‘til it feels right and then I move to a final. With my zine-making, I like to write a script of sorts, and then move forward with imagery. As I work on the visual (or even before), I find it helpful to have a sense of what the final piece will look like in terms of size, shape, print finish, and material. Having that clarity beforehand helps me as I create, because I’m not the most organized person.

RS

What places and pasts is your work in conversation with?

JSH 

I find my work pushing and pulling out of two worlds—one that is nurturing and light, and another that feels like a quicksand. I try to move through them with the same amount of strength, openness, and honesty. The voice is always queer and femme-focused. I’m always thinking of home(s), or the idea of it. The familiar and the nostalgic share space with the odd, and sometimes the unsettling. The phenomenal women I grew up around in Delhi and Lucknow hugely influence the way I conceive of and draw the characters I am interested in. The strength of these characters in turn gives me strength, so there’s some symbiosis there. The Sikh spirit of resilience and community is always on my mind, both in my work and in my life.

RS

What is your artistic relationship to other art forms (film, photography, dance, painting, fashion)?

JSH

I love keeping up with as much art as I can! I was lucky to grow up in Delhi, and to now be based out of Chicago. Both cities are steeped with history, and offer me access to all kinds of art. My design training at National Institute of Design, Ahmedabad exposed me to phenomenal cinema, a passion I have since carried forward. Music has always been a source of inspiration and nostalgia. I recently saw the legendary Yasuaki Shimizu live in Chicago—images and memories flashed before my eyes! It was so unreal, and it got me excited to bring some of that play into my work. My love for fashion started with magazines my mum would get from a local library. I would spend hours going through editorials and ad campaigns, worlds created and printed on glossy paper. So much of what we absorb informs the work we do (consciously or not), and watching people imagine new realities in other art forms is not only a way for me to stay inspired, but also stay sane.

RS

What are the challenges of representing the body, the face, or inner subjectivity?

JSH

Ever since I was young, I loved observing people. I loved building characters, and imagining the conversations they would have, or what they ate. This led me to study animation. Though I don’t animate professionally anymore, my love for building characters remains. I love drawing the machine that is the human body, the ways in which it stretches, curls, and moves. The femme characters I draw are a culmination of all of my experiences, loves, and resentments. I can trace this shift of looking outward to looking inward, back to when I moved to Baltimore for my master’s in 2015. My characters became much more closely linked to my person—an extension of me. This can sometimes feel really vulnerable, and get exhausting over time. But I consider myself lucky to be able to make the work I do, and it is beautiful when my work resonates with others.

RS

What does creative fulfillment look like for you?

JSH

Creative fulfillment is when the vision comes to life. And it isn’t necessarily tied to work (most of the time, it isn’t). Rather, it could be putting together my home, cooking something hearty and sharing it with people—even plating a simple meal! Long-term, creative fulfillment is to create more freely, to make work independent from stress about money. It would also mean collaborating freely across different disciplines, with people who have different skills. Experimenting fearlessly, and evolving in and outside of my art practice.

This interview has been edited and condensed for clarity.