Artist Mahtab Hussain is transforming public space into a platform for connection with his new installation Please Take a Seat. Launching at Queen Elizabeth Olympic Park, the project invites visitors to reflect, participate, and create a living portrait of East London. We spoke with Mahtab about the inspiration behind the work, the power of public art, and how his practice continues to challenge ideas of identity and representation.
How did the concept for Please Take a Seat come about, and what role do you see public art playing in fostering conversations around identity and representation?
The concept for Please Take a Seat emerged from reflecting on the importance of public spaces and how we interact with them. Initially, the brief called for portraits to be displayed in the park, but I felt drawn to let the space itself inspire the work. What does it mean to create art in such a public setting, and what do I cherish about parks?
During lockdown, the yearning to be outdoors intensified. Benches and parks became symbols of freedom, holding countless meaningful moments—first dates, picnics, deep conversations, and even painful breakups. I began to wonder: if benches could speak, what would they share about our human connections?
This reflection led me to the idea of the bench as both a functional and symbolic object. Benches, like chairs and stools, have long been used in portraiture. Reimagining the park as a studio, I saw the bench as a sculptural piece that invites engagement, facilitating conversations about identity and representation. Through this, the space transforms into a platform for dialogue and self-reflection.
You collaborated with The Line’s Youth Collective to create this piece. How did their perspectives shape the final design, and what did you learn from working with young creatives?
Collaborating with The Line’s Youth Collective was a deeply transformative experience. Their detailed and ambitious brief challenged me to create a work that would connect with the community in Newham and East London, honour both the past and future, and celebrate the area’s diversity. Their perspectives led me to reconsider every design choice, from the materials like cast iron to the historical references embedded in the work. Through our workshops, we brainstormed ideas that shaped the bench’s final design.
On a personal level, I was reminded of the brilliance and articulate nature of young minds. I felt fortunate to be surrounded by such thoughtful thinkers. I learned so much from them, and their clarity and confidence made me wish I had been as articulate at their age. After 20 years of working with young people, I’ve seen first hand how incredible they are, each with something meaningful to share. Those in positions of power need to give our youth more credit and agency.
The bench encourages interaction, inviting visitors to take part in a growing portrait of East London. Why was it important for this piece to be participatory rather than just observational?
The decision to make Please Take a Seat participatory was essential because it opens up the artwork to a wider audience, inviting them to contribute their own stories and portraits. This involvement turns the piece into a living, evolving work that reflects the community of East London. It shifts the experience from passive observation to active participation, making the art more personal and inclusive. I wanted people to feel like they were part of the process, breaking down barriers and showing that art belongs to everyone.
Just last week, while getting my car serviced, I spoke to a young guy working on my car. I invited him to my opening at Ikon Gallery, and after some convincing, he agreed. He mentioned that he’d never been to places like that before. I responded, “Well, that’s exactly why you should come.” I reminded him that his taxes help fund these spaces—they belong to him too. This moment really stuck with me because it highlights how many people don’t feel connected to art, and I want Please Take a Seat to help change that by making people feel included and giving them the chance to contribute.
The motifs engraved on the bench—from the Bow Bells to a microphone representing Newham’s grime music—speak to East London’s cultural richness. How did you choose these symbols, and what do they reveal about the area’s evolving identity?
The motifs on the bench, such as the Bow Bells and the microphone, were shaped by my deep dive into East London’s cultural history. I’ve always been drawn to history, and my personal connection to the area having lived for a short while in Forest Gate later working in East London, it made this exploration even more meaningful. The Bow Bells represent the region’s historical ties to London’s identity, while the microphone celebrates grime music, which emerged in Newham and has since become a global force. The contrast between the traditional chimes of the Bow Bells and the modern energy of the MC creates a striking dialogue between past and present. The Bow Bells represent not just a historical landmark but also a symbol of community and continuity for East Londoners. The microphone, on the other hand, highlights the self-expression and resilience of the local community, with grime music offering a platform for voices that have often been overlooked. Together, these symbols reflect not only the fusion of past and present but also the on going transformation of East London’s identity a place where history is honoured, yet constantly evolving.
Your work often explores themes of displacement and heritage. How does Please Take a Seat fit within your broader artistic practice, and what new ground does it explore for you?
This is my first public art commission, and I’m excited to expand this part of my practice in the coming years. “Please Take a Seat” aligns well with my ongoing exploration of displacement, identity, and heritage, but it also pushes my work in new directions. While it still reflects individual experience, this project adds a layer of collective participation by inviting the public to contribute to the piece. The inclusion of 11 portraits from the Youth Collective further grounds the work in portraiture, but also highlights the importance of community voices in the artwork. It’s a dynamic interplay between tradition and interactivity, engaging people with the space and its rich history. This project allows me to connect these themes in a new, public way, moving beyond the gallery to create a lasting, shared dialogue.
You’ve spoken about benches historically being sites of civic life and spontaneous interaction. In today’s fast-paced, digital world, how do you hope this installation reclaims that space for real-world connection?
Even though the world is fast-paced, we still need those quiet moments to sit, reflect, and simply “be.” Please Take a Seat is designed to celebrate and offer a space for that reflection. The physical bench invites people to pause, while the digital aspect—encouraging visitors to share their experiences on Instagram through reels and photos—extends these interactions into the digital realm. What excites me most about this project is how the connection isn’t just personal but public, fostering a shared space for conversation, reflection, and a collective experience that transcends the physical and digital realms. It’s not just about personal reflection but about creating a sense of community and belonging, allowing people to take part in something larger. In a world that often feels disconnected, this installation creates a moment where people can truly connect with each other, the space, and the on going evolution of East London’s identity.
With The Line’s Visible/Invisible project aiming to tackle inequalities in arts opportunities, how do you see initiatives like this reshaping access to public art for underrepresented communities?
I studied art at college and later earned a BA in the History of Art at Goldsmiths. In 2006, I was awarded a Museum Association Diversify Scholar Bursary, which sought to address the underrepresentation of Black and Brown people in museums, where the workforce was far below the national average. My time working in museums, though rewarding, left me feeling invisible within the artwork itself, prompting me to shift my focus. That was nearly 19 years ago.
Initiatives like The Line’s Visible/Invisible project are absolutely vital in reshaping access to public art for underrepresented communities. By engaging young people from diverse backgrounds, it ensures that art is not a privilege for a select few but something that belongs to everyone. These projects break down the barriers that often isolate people from the arts, providing a space where individuals can see themselves reflected in the cultural landscape. This empowers participants to express their identities and become part of a larger conversation. Ultimately, these initiatives foster inclusivity, challenge traditional gatekeeping, and contribute to a more equitable and representative art world—one that better reflects the diversity of our communities.
Looking ahead, what impact do you hope Please Take a Seat will have on visitors to Queen Elizabeth Olympic Park, and how do you see your work continuing to evolve within public and digital spaces?
Looking ahead, I hope Please Take a Seat encourages visitors to Queen Elizabeth Olympic Park to pause and reflect on the community and history around them. The work aims to create an inclusive space for dialogue, making public art more accessible and engaging. As my practice continues to evolve, I envision expanding my work into both physical public spaces and digital platforms, allowing global audiences to connect with art in new ways. This blend of real-world and virtual engagement will help bridge gaps and foster meaningful interactions in diverse spaces.
Last year, I had the honour of creating a 5-figure bronze maquette to commemorate the 2.5 million British Indian Army soldiers (Sikh, Muslim, Hindu, Gurkha, and Christian) who served in WWII. This year, in partnership with the Royal British Legion, we are touring the bronze across the country to mark the war’s end and celebrate their sacrifices. There have also been exciting discussions about creating a permanent installation in London, as these soldiers have never had a memorial in the city. This would be a significant, long-overdue recognition of their contributions.
As I continue to push boundaries within both public art and digital spaces, I hope my work sparks conversations that transcend time and place. Art has the power to challenge perceptions, provoke dialogue, and build community. In an era where physical and virtual worlds intersect, I aim to create projects that invite people to not only experience art in person but also to share and interact with it digitally. By merging these realms, I can continue to foster connections, making art more inclusive and accessible to a wider, global audience.
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