Temsüyanger Longkumer, an interdisciplinary artist based in London, has gained international recognition for his ability to merge traditional Naga craftsmanship with contemporary artistic expressions. His work spans a range of mediums, including drawing, sculpture, and installations, each piece reflecting a deep connection to his Naga roots.

Born and raised in Nagaland, Temsü was immersed in the rich traditions of textiles, wood carvings, and oral storytelling, which profoundly influenced his creative journey. Reflecting on these formative years, he shares:
“Growing up in Nagaland, I was surrounded by our people’s vibrant traditions, folklore, and craftsmanship. The practice of passing down oral traditions profoundly shapes my narrative-driven approach as an artist. Whether creating installations or sculptural forms, I often draw on themes of community, resilience, and the relationship between people and their environment—concepts rooted in our heritage.”
The communal ethos of Naga society, where “we” takes precedence over “I,” continues to shape his perspective. His Travelling Forests series, for instance, explores the resilience of migratory plants as a metaphor for human adaptability.
Temsü earned a Bachelor of Fine Arts (BFA) from the Government College of Arts and Crafts in Assam and an MA from the Faculty of Fine Arts in Baroda before receiving a scholarship to the Royal College of Art, London. He describes the transition as both exciting and humbling:
“Coming from a very modest background, studying abroad would have been impossible without this support.”
Upon returning to Nagaland after his studies, he envisioned setting up a studio but faced significant challenges:
“Opportunities were almost non-existent unless you had strong connections. I found myself at a crossroads: either create commercially-driven art that didn’t resonate with me or leave it all behind to live in isolation, farming and making art I cared about. Ironically, this vision is something I’m beginning to realise now, back in Nagaland.”
An invitation to exhibit in London marked a turning point in his career. Despite the challenges of sustaining an art career in London, Temsü persevered:
“Living in London as an artist was thrilling but also challenging. I had to take on various jobs to support my art, but my passion kept me going.”
His work has since been showcased at the Venice Biennale, Kochi Biennale, and Singapore Biennale, and is part of prestigious collections such as the Horniman Museum in London and the Pitt Rivers Museum in Oxford. Despite these accolades, his Naga heritage remains his guiding force.
“My Naga roots give me a unique perspective to bridge traditional and contemporary, local and global, and tangible and metaphysical ideas in my work.”
Through themes of resilience and interconnectedness, Temsüyanger Longkumer’s art bridges tradition and modernity, inviting reflection on the universal bonds that connect humanity.
Here’s a brief interview conducted by MT with the artist
MT: Your work spans a variety of mediums, including drawing, sculpture, printmaking, and installations. How do you choose which medium to work with for each project?
Longkumer: Each project begins with an idea, and the choice of medium emerges naturally as I explore the best way to express that idea. Some concepts are more tactile and lend themselves to sculpture, while others might require the intimacy of drawing or the layered possibilities of printmaking. Installations, on the other hand, allow me to create experiences that invite the viewer to engage in an immersive way.
I try not to limit myself to a specific medium, as each has its own language and strengths. The subject matter, context, and the emotions I want to convey play a significant role in determining the medium. It’s often a process of experimentation —sometimes the medium I start with isn’t the one I end up using. For me, it’s about allowing the idea to guide the process and being open to where that process might lead.
MT: Having exhibited at prestigious events like the Venice International Film Festival and with your work currently on display at the London Art Fair, 2025, how have these platforms shaped your perception of global art movements and trends?
Longkumer: Exhibiting at platforms like the Venice International Film Festival and the London Art Fair has been both an enriching and humbling experience. These events provide a unique opportunity to engage with a diverse range of artists, curators, and audiences, offering insight into the myriad ways art is being practiced and perceived across the globe.
What I’ve found most striking is how deeply interconnected yet wonderfully varied global art movements are. There’s a shared urgency in addressing themes like identity, migration, and climate change, yet each artist brings their own cultural and personal lens to these universal concerns. This diversity has broadened my own perspective, encouraging me to think beyond boundaries while staying rooted in my own narrative.
These platforms have also reaffirmed the importance of authenticity in art-making. Trends may come and go, but it’s the sincerity of an artist’s voice that resonates universally. Being part of such vibrant dialogues has motivated me to continually push the boundaries of my practice while contributing to the larger conversation of what art can mean in today’s world.
MT: Are there specific artists, movements, or experiences that have influenced your practice?
Longkumer: While I draw inspiration from many sources, my work is primarily shaped by my cultural background and the experiences I’ve had throughout my life.
Growing up in Nagaland, I was immersed in a rich environment of stories, traditions, and rituals, which have deeply influenced my approach to art. The practices of oral storytelling, weaving narratives across generations, resonate with me, as they inform my exploration of memory, identity, and history in my work.
In terms of specific influences, I find myself drawn to movements that challenge the boundaries of art, such as the conceptual art movement and the work of interdisciplinary artists who use a wide array of mediums to communicate complex ideas. Artists who explore themes of migration, displacement, and community, especially in a global context, have also inspired me—particularly those whose work offers a critique of societal and environmental issues.
At the same time, my personal experiences, including my time studying abroad and navigating the art world both in India and the UK, have continually shaped my artistic journey. These experiences have given me a broader view of the world, but they also solidified the importance of staying connected to my roots and maintaining a practice that reflects both my personal and cultural identity.
Ultimately, I believe that the most significant influences are those that come from within—our own histories, memories, and the ever-evolving relationship between the self and the world around us.
MT: What advice would you give to emerging artists from Nagaland or other underrepresented regions aiming to make a mark on the international art scene?
Answer: My advice to emerging artists, especially those from underrepresented regions like Nagaland, is to remain true to your own voice and experiences. Often, there’s pressure to conform to dominant trends or expectations in the art world, but it’s important to remember that your unique perspective is your greatest strength.
The stories, culture, and values that you carry with you are invaluable contributions to the global conversation.
Additionally, never underestimate the power of perseverance and adaptability. The journey as an artist can be challenging, particularly when you’re navigating spaces that may not initially understand or appreciate your work. But with determination, dedication, and a willingness to learn, doors will open. Stay open to collaborations and networks, and seek out opportunities to showcase your work, whether it’s through exhibitions, residencies, or online platforms.
Lastly, use your platform to tell stories that are meaningful to you. Art has a remarkable way of bridging gaps and sparking dialogues that go beyond borders.
By staying connected to your roots and culture while embracing new experiences and ideas, you will create work that is not only deeply personal but also universally relevant. Stay authentic, stay curious, and keep pushing boundaries.
MT: Given your diverse artistic experiences, how do you see the role of art in addressing societal issues and fostering cross-cultural dialogue in today’s world?
Longkumer: I firmly believe that art plays a vital role in addressing societal issues and fostering cross-cultural dialogue, especially in today’s world where we’re constantly navigating complex global challenges. Art has the unique power to transcend boundaries—be it cultural, geographical, or social—and connect people on a deeply human level. By creating work that reflects our realities, struggles, and hopes, art can serve as a mirror to society, inviting reflection and dialogue about important issues.
In my own practice, I try to engage with themes of migration, community, identity, and the environment, all of which are highly relevant in today’s context. Art allows us to look at these issues from multiple perspectives, often offering insights that are hard to articulate through traditional discourse. It can spark conversations, raise awareness, and even challenge the status quo.
Cross-cultural dialogue is essential, especially in a world where divisions seem to be growing. Art bridges these gaps by fostering empathy and understanding, enabling people from different backgrounds to find common ground. Through the universal language of creativity, we can engage in a conversation that goes beyond words, helping to break down misconceptions and build solidarity.
Ultimately, art is not just a means of expression, but also a powerful tool for social change and building connections. It encourages us to see the world not just through our own eyes but through the eyes of others, helping us navigate our shared humanity in a meaningful way.
MT: Looking to the future, are there any specific themes or projects you’re eager to explore further in your work?
Longkumer: Looking to the future, there are several themes and projects I’m eager to explore in my work. One area that continues to deeply interest me is the intersection between nature and human-made structures—how these two realms coexist, interact, and sometimes conflict. I’m particularly drawn to the ways in which the natural world adapts, survives, and sometimes thrives amidst the changes humans have made to it, whether it’s through urbanization, deforestation, or environmental degradation.
I’m also keen to delve further into the themes of migration, community, and identity. These topics are especially close to my heart, given my own background and experiences. I see migration not just as a physical movement but also as a metaphorical journey—how individuals and cultures adapt to new circumstances while holding onto the essence of who they are. Through my work, I hope to explore this idea more deeply, particularly in how migration shapes both personal and collective identities.
Additionally, I am interested in continuing to experiment with new mediums and techniques. The evolution of my practice has always been about pushing boundaries and finding fresh ways to express these themes. For example, I’m exploring the use of ephemeral materials and forms, to reflect the transient and fleeting nature of life itself.
Ultimately, I aim to create work that encourages reflection, dialogue, and a deeper understanding of the world around us—whether it’s exploring ecological issues, cultural narratives, or the complexity of human experience. I’m excited about the possibilities that the future holds both in terms of the themes I’ll explore and the new ways I’ll be able to share these ideas with the world.





For those interested in exploring more of Longkumer’s work, please visit his Instagram at https://www.instagram.com/temsuyanger_longkumer/ or website www.temsuyanger.com
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