Mixed: Dev Dhunsi’s Photographic Exploration of Identity Beyond Labels

The concept of fluidity permeates Dev Dhunsi’s compelling new photo book, Mixed, a publication that challenges conventional notions of identity by embracing multiplicity. Published by MACK and Self Publish Be Happy (SPBH), Mixed is more than a collection of images; it is a profound meditation on how identity can manifest when language falts, presenting a kaleidoscopic journey through colour, photographic genre, and thematic scope. Readers are invited to traverse from myth to documentary, from archival fragments to text that mimics a screenplay, page by page. The visual language of the book is as diverse as its conceptual underpinnings, featuring an array of striking images: a model adorned in opulent jewellery against a vibrant tangerine backdrop, a self-portrait of the artist embodying the Hindu goddess Kali, and a tonally inverted photograph of a seemingly ordinary bookshelf.

Dhunsi elucidates his intent in a recent conversation, stating, "The term mixed isn’t just fixed to this idea of racial identity. I wanted to use this concept of ‘mixedness’ as a method." This methodological approach extends beyond the thematic core of the book, permeating its very structure and presentation. "There are all sorts of genres of photography within the book, which might make a critic confused. It has lots of text. It’s not just documentary or portraiture photography; it includes archival elements. I wanted the premise of ‘mixed’ to go beyond the book’s thematic aspects." This deliberate blurring of lines aims to disrupt traditional categorizations and encourage a more nuanced understanding of identity.

The genesis of Mixed can be traced back to the Nordic Photobook Award, an opportunity Dhunsi viewed as a catalyst for realizing a project he could not have undertaken independently. "I sat down and imagined what I would do with the opportunity, and instead of applying with an established body of work or my portfolio, I proposed a project just with text," Dhunsi reveals. "It didn’t make sense for me to apply to the award with something that already has a life. I wanted this book to feel completely new." This initial proposal, focused solely on textual exploration, laid the groundwork for a project that would ultimately integrate a rich tapestry of visual and textual elements.

The Roots of Exploration: Family, Migration, and the ‘Fatherland’

In the nascent stages of conceptualizing Mixed, Dhunsi found himself drawn to an exploration of his own family history and Scandinavian roots. "My family moved to Norway in the 80s and 90s, which was a significant period of migration into Norway," he explains. "My cousins are from Algeria, from Morocco, from Argentina. My own heritage is in India, and I guess we are now groups that are supposedly going to have nationalist feelings towards Norway, but struggle with it. I wanted to explore that tension of being from different places." This personal connection to the complexities of migration and the negotiation of belonging became a foundational element of the project.

The textual component Dhunsi was developing during this period was titled Fatherland, a poignant tribute to his father’s Indian heritage. "I initially wanted to travel to all the countries my family are from with them and work with the geographical differences between those places," Dhunsi shares. "I hoped that I would learn more about them outside the context of Norway through that experience, but the project ended up being way too ambitious." This ambitious scope, while ultimately scaled back in its literal execution, ignited the conceptual framework for Mixed, emphasizing the multi-faceted nature of identity shaped by geography, heritage, and migration. The very act of naming the textual project Fatherland highlights the intricate relationship between personal history and national identity, a theme that resonates throughout the photo book.

A Method of ‘Mixedness’: Embracing Ambiguity and Collaboration

To fully realize the thematic ambitions of Mixed, which are primarily concerned with ideas of identity and visibility in an era often characterized by an obsession with definitive categories and purity, Dhunsi made a deliberate choice to relinquish a degree of artistic control as a photographer. He intentionally leaned into ambiguity and allowed the visual output of the book to be deeply influenced by his interactions with his subjects. "It opened up the way I was able to work with people and create images," Dhunsi reflects. "By talking to me about their own cultural heritage and how they felt like representing themselves, I was able to open up my own references and expand the kind of images I was making."

This collaborative approach allowed Dhunsi to access spaces and moments that might have otherwise remained inaccessible. He notes a parallel between the experience of navigating hybrid identities and the queer experience, stating, "Our hybrid identities function similarly to being queer in how they teach us to adapt to different rooms and spaces. You can cross a lot of borders and access moments that are unique and exciting. I think that sense of excitement really comes through in the book." This perspective underscores the power of embracing complexity and fluidity as a means of enriching both personal experience and artistic expression. The visual evidence in Mixed supports this, with images that often feel simultaneously intimate and universal, personal yet broadly resonant.

Archival Encounters: Confronting the Past, Reclaiming the Narrative

A particularly striking aspect of Mixed is its inclusion of material from The State Institute for Racial Biology in Sweden. This institute, which ceased operations in 1959, housed documents and photographic materials pertaining to racial biology and eugenics—fields that sought to categorize and define human beings based on flawed and discriminatory scientific paradigms. Dhunsi’s decision to incorporate this archival material is a deliberate act of contextualization and critique. "I wanted to include this archival material as a backstory for the project, but I also wanted to emphasize that this racial archive is totally different to my way of working," he states.

Dhunsi draws a stark contrast between the methodologies employed by the Institute and his own artistic practice. "They were violently capturing their subjects, stripping them naked, and measuring them. They didn’t include any names to identify any of the people in the archive, which is why it was so important for me to truthfully represent everyone in Mixed and include a thank you page where all their names are listed." This emphasis on truthful representation and the explicit acknowledgement of his subjects’ identities serves as a powerful counterpoint to the dehumanizing practices of the past. By foregrounding the names and stories of individuals, Dhunsi reclaims the narrative and insists on the inherent dignity and complexity of each person, moving beyond sterile, objectifying categorization. The inclusion of this archive is not merely illustrative; it is a confrontational element that highlights the historical forces that have shaped, and continue to shape, perceptions of identity, and the artist’s active resistance to such forces.

An Exhibition Beyond Walls: Translating Mixed into Space

The thematic explorations of Mixed are further extended into the physical realm through Dhunsi’s accompanying exhibition at the Nitja Centre for Contemporary Art in Norway, titled Unmistakably You. This exhibition translates the book’s nuanced dialogue on identity into a tangible experience, carefully designed to disrupt conventional modes of viewing and engaging with photographic art. "I decided none of my photos would touch or hang freely on the wall," Dhunsi explains to Dazed. "I didn’t want to neutralize these portraits or treat them as objects, as something one can theoretically buy and bring home."

Instead, Dhunsi has employed innovative presentation methods. A selection of photographs are printed on textiles and stretched onto canvas stretchers, imbuing them with a tactile quality that resists the pristine, detached presentation of traditional gallery art. Another series of works appears on tapestry, further exploring the materiality of the photographic image. The archival images, in contrast to the artist’s own work, are embedded directly into the wall, appearing as if someone has "ripped up the wall to expose the images," a visual metaphor for uncovering hidden histories and challenging the very surfaces that often obscure them.

For Dhunsi, this approach transforms the exhibition space into an active site of inquiry, mirroring the photo book’s role as a medium for exploration. "The physical space becomes another site of inquiry – much like the photo book itself – one that resists the urge to neutralize, label or neatly contain, an examination through medium and method of how limiting traditional modes of presenting and categorizing photographs are." This conceptual framework challenges the audience to reconsider their relationship with images and the narratives they convey, emphasizing that how we present and engage with art is as crucial as the art itself in shaping our understanding.

Broader Implications: Identity in the Digital Age

The multifaceted approach of Dev Dhunsi’s Mixed arrives at a critical juncture, particularly in an era increasingly dominated by digital platforms and the curated presentation of self. The book’s exploration of "mixedness" as a methodological tool—embracing diverse genres, archival material, and collaborative storytelling—offers a potent counter-narrative to the often reductive and binary modes of identity construction prevalent online. The emphasis on fluidity, the acknowledgment of complex heritage, and the deliberate resistance to singular definitions resonate deeply in a world where individuals navigate multiple online personas and grapple with the pressure to present a coherent, often idealized, self.

The project’s engagement with the historical archives of racial biology also serves as a timely reminder of the enduring impact of past categorizations on present-day understandings of identity. By juxtaposing these historical documents with contemporary portraits that celebrate individuality and hybridity, Dhunsi underscores the ongoing struggle against essentialist definitions of race, ethnicity, and nationality. The fact that the book is published by MACK, a respected independent publisher known for its commitment to innovative photographic projects, and Self Publish Be Happy (SPBH), an organization dedicated to promoting artist-led publishing, further signals a growing interest within the art world for projects that challenge established norms and offer alternative perspectives.

The exhibition Unmistakably You, with its unconventional presentation of materials, further amplifies the book’s central themes. By eschewing traditional display methods, Dhunsi encourages a more embodied and critical engagement with the work, prompting viewers to question not only the content of the images but also the very structures through which we consume and interpret art. This approach suggests that the act of presenting and experiencing art can itself be a form of resistance against reductive categorization.

The success of Mixed and Unmistakably You signals a growing recognition of the value of nuanced, intersectional approaches to understanding identity. In a globalized world where cultures, histories, and individual experiences are increasingly intertwined, Dhunsi’s work provides a vital framework for appreciating the richness and complexity that arises from embracing, rather than erasing, our multifaceted selves. The project’s success is not just in its aesthetic achievements but in its profound contribution to an ongoing dialogue about what it means to be human in a world that often demands simplistic answers.

Mixed (SPBH Editions, 2026) by Dev Dhunsi is published by MACK.
Unmistakably You is now open at Nitja Centre for Contemporary Art, Norway, until 26 April 2026.