With a background in architecture and a studio life filled with bold brushstrokes, blue ink and the rhythms of family, Laxmi Hussain’s world is anything but conventional. Her work feels both intimate and expansive, rooted in observation and instinct, and shaped by a life where motherhood and creativity are deeply entwined.
Raised in London by immigrant parents who made countless sacrifices to create new opportunities, Laxmi grew up surrounded by quiet forms of creativity that were often sidelined in favour of survival. It wasn’t until she became a mother herself that her art returned with a new urgency, fuelled by the desire to reclaim what had been put aside and to create a space where imagination could flourish.
Now a mother of three, she continues to explore the female form, identity and memory through her practice, while raising children in the same city that shaped her. In this interview, she speaks about the joys and challenges of balancing art with parenting, the legacy of craft in her family, and why she believes creative thinking is one of the most essential tools we can pass on to the next generation.
Growing up in a family that emigrated from Asia, how has your cultural background shaped your creativity?
I think I will always be unpacking this to be honest. In childhood, my art was always nurtured by my parents, and sometimes I think the ego of a child can mean you miss all the things which quietly sent you on your path. My mother came from quite a poor background and came to the UK to be able to support her large family back home as well as secure a better future for herself. My dad left India in his late teens, getting married and moving to Kenya where he lived quite a successful small family life for over 10 years. When they came to the UK they both worked very hard, long hours and sometimes had several jobs which left very little time for creativity. I think in another life my dad would probably have pursued painting more because as soon as he saw it in me, he nurtured it all he could. I remember when I was in secondary school he took me to really big art stores to buy my materials, like it was a day out.
I played the violin for years when I was young and he bought me my first violin from a really beautiful store in Marylebone. I don’t play anymore, but I still have it. My mother was an amazing tailor, her older sister went to school to learn tailoring, and because it wasn’t affordable for both sisters to study, my auntie would come home and teach my mother everything she learnt on the course. It’s taken me a long time to realise how much creativity was suppressed because they had to work so hard, and even longer to realise that probably the reason I tried to defy that life is because they couldn’t.
I am here today doing the thing that I love because of all the sacrifices they had to make. Even though culturally they both come from incredibly rich backgrounds, in craft, arts and more, moving countries often means these things have to be left behind, and to pursue them is a risk (and a privilege) when they’ve worked so hard to have better lives.
You’ve spoken about spending hours sketching in your dad’s shop as a child. Did your parents encourage your creativity, or was it something you pursued independently?
Yes – my dad openly nurtured it, he loved that I was so in love with drawing and painting. My mum quietly squirrelled away everything I ever made, showed up for all the things I won, helped us explore music, dancing and much more.
You studied Architecture before moving into art. Were your parents supportive of your creative path, or was there an expectation to pursue something less creative?
I actually chose Architecture for it being the balance between fulfilling my creative side and the professional side my parents wanted me to pursue. They didn’t force me into this so it wasn’t an expectation as such, they just wanted us to know a professional skill, and therefore financial security. Essentially they just wanted us to be happy and safe and because of all they had to endure that also meant to not struggle financially, and to have the best foundations to be able to obtain that.
You’ve said that becoming a mother reawakened your passion for art. What was that moment like when you picked up a pencil again? Did something specific inspire you?
If I’m honest I never put my pencils down for long, but I always just used it as an outlet for myself and nothing more. When I had my eldest I hadn’t drawn for a while because being thrust into new motherhood is a lot, but when he was 1, he really started to love drawing and would draw such imaginative things throughout his early years. So I started drawing more. When my middle child was born, I was now drawing on a regular basis. Idea’s started to evolve, it was also the beginning of instagram and so I also started to share and the feedback was so welcoming, it just spurred me on to keep going.
Your work explores themes of motherhood and the female form. What would you like your children to take away from your art when they’re older?
I want my work to impact them now, for them to see women’s bodies as just bodies. That bodies alter and change and life also leaves its mark on them. My kids have been immersed in my work for years, being in and out of my studio on a daily basis at some point in their lives and when they see my work they aren’t embarrassed or surprised by it and that makes me quite proud, and hopefully that will stay with them.
As a mother of three, how do you balance your creative practice with family life?
I don’t ever feel like I have balance, it’s all a juggle, currently I’m running around a lot because it’s important to me that I’m there for the kids whenever it’s possible, and I always prioritise them over anything. Yes my career is important to me, but my parents worked a lot when I was a child and I resented my dad a bit for that. It’s only with hindsight that I see that he was doing his best, but him making this sacrifice has given me the tools to do a bit better, not in spite of him, but because he has given me a better life.
My work is not usual office hours, I wake up every day at 6.30 for the kids, and I can finish anywhere between 5-11pm, this might be because I return to the studio after the kids have gone to bed. The reality is, I don’t know how not to be an artist, I also really love being a mother to my kids, and that is a big, never-ending juggle.
London is such a vibrant, creative city. How has it influenced the way you raise your children?
I was born in London and have been lucky to live fairly central for most of my life. There is a unique London language that exists in the way we communicate. We’re gritty, we can adapt to lots of change. There is a London style, a way of talking, walking and dressing. Yes, I know a lot of cities have a unique culture to them but London is truly where my home is, and really feels like a big part of my identity. It took me a long time to own this, being the child of immigrants can make you feel like you don’t truly belong, and now I have children of my own, who are from four different countries. I can teach them to feel home wherever they want to be.
Are there any commissions or projects that hold a special place in your heart?
I really loved painting the public installation I have at Wembley Park, it is a stepped concrete space which I painted in 2022. The steps are deeper and higher to allow for sitting, congregation and pause. I’ve lived in Brent on and off for most of my life, spending a lot of time in Wembley and it’s where I live now, so it’s quite a moment of pride to be recognised as a local artist and to have a permanent installation here right by the stadium. My children are really proud of it, it’s something we can all see on our walks, something they’ve been able to point out to their friends on school trips and that makes it so special to me.
Do your children show an interest in art and creativity? How do you encourage their creative side?
I only provide the tools and the space for them to create. My children are naturally curious because it’s what I do for work, I’ve been fortunate to make it feel like a normal job for someone to have in their eyes. I think what’s important to me is that art is a subject that is just as important as any other subject.
I bring them to the studio during weekends and holidays, we visit galleries, we talk about art. I’m not hoping they all become artists (it would be really cool if they did) but I want them to have the capacity to think creatively, this is really important learning in my eyes. My ancestors integrated craft and arts into the home making it a normal part of life. I think the ability to think creatively in any situation is a life skill, something that allows us to think out of the box, give ourselves mindfulness and makes us practical in so many scenarios, something we should all welcome into our lives.
Are there any books, films, games, or places that have had a big impact on your kids’ creativity?
My studio has definitely had a big impact on all of them – I’ve obviously moved studios a few times in their growing, but it has been a space of refuge, not just for me, but also for them. My oldest doesn’t join me as often now, being a teenager and preferring to draw in his own space, but my other two children often come in with me on the weekend and will paint and make things alongside me working.
I also love children’s books, even though they are short, they allow for fantasy and play and I often choose books which remind me of the ones I grew up with or are beautifully illustrated. I’ve always made time to share these with my children, and still do with my youngest.
A heartfelt thanks to Laxmi for sharing her story with us. At Creative Parent, we’re always inspired by those who bring creativity, culture, and care into the everyday lives of children. If you enjoyed this conversation, keep an eye out for more interviews with the artists, makers, and parents shaping the future through creativity.
