All images © Hark1karan
Zimmers of Southall is the photographer’s latest photo book interlacing South Asian heritage with West London’s environment
Following the successes of PIND and KISAAN, Hark1karan’s third self-published book follows his project shot between 2019 and 2024. Zimmers of Southall presents a deeply personal exploration of the culture and evolving landscape of Southall, West London, and life in modern Britain. Hark1karan labels himself as a committed ‘community photographer’; his lens is almost always pointed at the people he was raised by and alongside.
Growing up in West London as a Panjabi South Asian, Hark1karan captures the nuanced layers of Southall through images of tradition, faith, caste, grassroots protest, relationships, and city life. “It documents how ideas and cultures are not fixed to one place but adapt and evolve over time,” writes the photographer.
After travelling to and exhibiting at prestigious venues such as the Venice Biennale, the Barbican, ICA, V&A, and Harvard University, the project now culminates in a book, launching at the end of September, through crowdfunding efforts from the community. Here, Hark1karan tells BJP how the work came to fruition.
“The community at the heart of Zimmers is everyone you see throughout the book”
Hark1karan: Zimmers of Southall is a photo book that explores the evolving culture and landscape of Southall, West London, within the broader context of modern Britain. The book captures the intricate layers of life in Southall through images of tradition, faith, caste, grassroots protest, relationships, and urban life. It demonstrates how ideas and cultures are not tied to a single place but adapt and evolve over time, reflecting the dynamic and fluid nature of British life today.
As a first-generation Londoner, this project is an extension of my lived experience. Through photography, I aim to open up a broader conversation about tradition, adaptation, and cultural expression, particularly in the context of diaspora communities. For me, Zimmers of Southall is more than just a visual collection; it’s a conversation with those who share similar backgrounds, as well as with those outside the culture who might find something relatable in the story. It’s about far more than just cars—it’s about how communities navigate change and continue to thrive.
There are very few stories in British documentary photography that reflect this specific cultural narrative, particularly in the way I’ve approached it. My goal was to fill that gap and offer a fresh perspective that resonates with both those familiar with Southall and those interested in the broader themes of adaptation and cultural identity.
A book is the most accessible and lasting medium to present this work in its full context. It allows present and future generations to engage with the story in a meaningful way, where each image is part of a larger narrative, providing depth, context, and continuity. Through the book format, the story can unfold in a way that encourages reflection, connection, and understanding.
DA: How does Zimmers feed into your wider portfolio and practice as a whole? What does it add to your lens on your community?
H: Zimmers is a natural continuation of my previous work, which focuses on the Panjabi and Sikh communities, as well as life in London. The process and practice behind it remain consistent with my broader approach—rooted in trust, collaboration, and layered storytelling that speaks to multiple audiences. By working closely with my subjects, I aim to document the essence of community life while creating space for diverse interpretations.
The lens through which I view the community is broad, and with Zimmers, I feel it further solidifies a sense of familiarity, strength, and unity within Southall. It captures the richness and variety of community life, particularly how different aspects—whether tradition, urban living, or grassroots movements—are intertwined.
Beyond the immediate community, the project resonates with a wider audience. It connects with car culture enthusiasts, sound system communities, as well as those in the photography and creative spheres. Each group finds something unique within the work, whether it’s the documentation of subcultures or the broader narrative of how communities adapt and thrive.
DA: Tell me more about the community at the heart of this project. Who are some interesting people you met, and how did they feel about being part of the project?
H: The community at the heart of Zimmers is everyone you see throughout the book. It’s multigenerational, with many individuals appearing more than once, reflecting the interconnectedness of life in Southall. Each person, whether captured in moments of tradition, daily life, or grassroots events, contributes to the rich fabric of this project.
What makes this work unique is that some of the photos were taken independently of the project, yet they come together like pieces of a puzzle to create a complete picture of the community. Everyone involved was enthusiastic about being part of Zimmers and their contributions are recognised in the appearance section.
In many ways, I think of my photographs of the Sikh Panjabi community as one big family album. There’s a shared sense of pride and belonging, and the people featured in the book see themselves as part of something that reflects their collective experience.
DA: What effect do you hope the project will have on its viewers?
H: I hope the project has a positive impact on its viewers, with most people finding enjoyment and connection in the book. My work is direct and rooted in real-life experiences, which I believe resonates with people. It’s the honesty and authenticity in the images that draws viewers in, offering them a genuine look into the community.
That said, I understand that some traditional photography fans might struggle with my approach, as my focus is less on capturing the ‘perfect’ photo and more on telling a meaningful story that connects to the people involved. For me, it’s always been about the narrative, and I hope viewers appreciate the depth and intention behind each image, rather than just the aesthetics.
DA: Do you believe this project challenges stereotypes or preconceptions about the Punjabi community in London?
H: The book was created for people like me and those who have shared similar experiences. For everyone else, it invites them to step in and try to understand what’s going on. That’s part of life—learning to navigate different cultures and perspectives as the world around us evolves.
While the project isn’t necessarily about directly challenging stereotypes, it does offer a more nuanced and authentic portrayal of the Punjabi community in London. As the world changes, it’s becoming increasingly important to embrace and engage with different cultural experiences, and I hope this work contributes to that conversation.
