For Douglas John the experience of space, form and light in the urban metropolis like Mumbai has remained possible thread of departure while studying at Sir JamshetjeeJeejeebhoy (JJ) School of Art, Mumbai and in later years of his art-making process. He completed formal art schooling in 1990 and started teaching at the applied department in the same premise. It was 1993 onwards that he was appointed at the department of fine art which kept him delve on two side- as an artist and professor. His work and research in diverse media using painting, video, and sculpture are significant manifestations to his career of art practice.
Douglas John, mesmerised and fascinated after moving to Mumbai; painted landscapes everyday starting early- on streets, upfront structures lend by the British to this city, he asserts, while recalling tonal and angular aspects of light at his Thane studio. His eye for minute detailing, recording form and space using watercolour and oils began during his art schooling. Douglas John was inspired by the paintings of Thomas Moran, which he had an opportunity to see at exhibition in 1987 at National Centre for Performing Art (NCPA), Mumbai. Under influence of S. H Raza, N.S Bendre’s rendition of landscapes, he grew turning pages of Soviet Union magazine seeing works by Picasso, Van gogh.
He was observant to study the nuances of light making landscape painting of Mumbai’s Victorian gothic style monuments, colossus BMC building facing Victoria Terminus (present day ChattrapatiShivaji Terminus), and fleeting imageries often recorded as he combed streets at Chor bazaar and many such as a student. The artist set a post-revivalist approach exploring notion of light- as physical, transient, immersive, and sometimes questioning a lived landscape and sheer activity of everyday.