The Democratic Vanguard of Street Art

St+art. St+art India was born when we, as founders (Arjun Bahl, Hanif Kureshi, Giulia Ambrogi, Akshat Nauriyal and Thanish Thomas) who met around 2012-2014, recognised a disconnect between the art we believed in and how it was traditionally shared. Coming from various creative fields, we felt frustrated with art being locked within exclusive spaces—galleries that often felt detached from people’s everyday lives. We felt a calling to democratise art, to break down its barriers, and to bring it to the streets. We saw art’s potential to impact communities deeply, much like tribal art that is woven into people’s daily lives. In those early days, Hanif and a few of us were already engaged with street art, and we understood how naturally it could integrate with Indian traditions while being a voice for change. Our first project was met with incredible enthusiasm from diverse people across Delhi—from creative circles to residents to government officials. That response validated our vision: to turn cities into open canvases that everyone could access and enjoy.

St+art. It’s hard to pick just one, but a few projects have left a deep impact on us. The Lodhi Art District, launched in 2016, was a landmark moment, transforming Lodhi Colony into India’s first public art district. However, the WIP (Work in Progress) exhibition in Okhla’s Inland Container Depot stands out. We stacked 150 containers to form an immersive fort-like structure in a gritty industrial area surrounded by a landfill, bringing art into a space rarely associated with it. Here, people who’d never seen art outside a utilitarian context—truck drivers, depot workers—found themselves in a unique experience. It was an equalising space, where high-profile business leaders mingled with locals, all wearing work-in-progress jackets symbolising shared exploration.

Another memorable project was at Sassoon Dock in Mumbai, where barefoot fishermen and Bollywood producers stood side by side, sharing an unexpected art experience. These projects weren’t just exhibitions; they were living proofs of our belief in creating radically inclusive, democratic spaces for art.

St+art. Collaborations begin with a deep dive into the essence of each location. We don’t just place art randomly; we carefully select sites that hold social, historical, or cultural significance. For example, Sassoon Dock is steeped in Mumbai’s trading history, and Lodhi Colony is part of Delhi’s colonial heritage. Once we select a site, we build a thematic framework that aligns with its identity, and we invite international artists who can meaningfully engage with these narratives. Working with international artists involves giving them a crash course on India’s cultural and social dynamics.

Despite potential challenges, artists from abroad often arrive with a sense of awe for India, and their eagerness to connect with the culture adds layers of meaning to their work here. They engage with India’s textures and nuances in ways that often surprise even us.

St+art. For us, selecting a location is almost an art form in itself, a process of “reading” a city’s fabric from all angles. Lodhi Colony, for example, was a serendipitous discovery; we kept crossing it on the way to India Habitat Centre, noticing its pedestrian-friendly layout, accessibility, and the untapped potential of its walls.

In Chennai, Kannagi Art District stood out because it’s a neighbourhood where 94,000 people were resettled after the 2004 tsunami. Despite the social challenges, the district buzzed with life, as kids played street games and families filled the streets. By situating projects in these areas, we don’t just beautify a neighbourhood—we create a shared experience where communities become an integral part of the art process. This approach reflects our commitment to place-making that’s not just about aesthetics but about revitalising spaces in a way that resonates with local identity.

St+art. Hanif was driven by the belief that art should be accessible to everyone, a principle that has permeated every aspect of St+art. He didn’t just want to create art; he wanted to create a movement that erased the boundaries separating art from everyday life. Under his guidance, we took on projects that others might have shied away from, bringing art to underutilised, often neglected urban spaces. His legacy lies in this ethos of radical inclusion. Hanif saw public art as a way to bring people together, to make art feel less like an event and more like a daily companion. Today, this philosophy continues to fuel our work, ensuring that art remains woven into the social and urban landscape of India.

St+art. Hanif’s philosophy of inclusivity and accessibility truly came alive in projects like the Lodhi Art District and the WIP exhibition. The transformation of Lodhi Colony into an art district was a bold testament to his vision, bringing vibrant murals to a once-quiet neighbourhood. However, in the WIP exhibition staged in Okhla’s industrial depot, his philosophy shone the brightest. Hanif believed art belonged everywhere, even in places most people overlooked. This project brought art to one of the city’s roughest, most utilitarian spaces, a place where truck drivers and labourers congregated. Here, art became a bridge across social divides, allowing everyone to engage with it on equal footing.

St+art. When we choose a theme, it’s about more than just painting a wall. Each project is a dialogue with the community, ensuring that the themes—be it climate change, gender equality, or local folklore—are both relevant and resonant. The process involves extensive research into the neighbourhood’s culture and history, allowing the art to reflect real issues that people can see themselves in. Our murals become stories on walls, turning public spaces into forums for discussion and awareness, encouraging locals to see their surroundings in new, empowering ways.

St+art. Our relationship with local authorities has been built on mutual understanding. By demonstrating the value of street art as a form of community enrichment and urban beautification, we’ve won support from government bodies who see how it can transform neighbourhoods. We tackle any lingering stigmas by carefully choosing locations and, when possible, working in collaboration with local authorities from the start. By involving officials and showing the potential for street art to attract visitors and brighten up urban spaces, we’ve helped shift perceptions from “vandalism” to “art”.

St+art. With over 375 walls transformed across 20 cities, our journey is far from over. We’re constantly exploring new cities and unique spaces, always seeking opportunities to bring art to areas where it hasn’t been before. Each new project is a chance to deepen our mission of integrating art into the daily rhythm of urban life, making art a fundamental part of cityscapes across India.

St+art. Hanif’s dedication to transforming unconventional spaces into art environments speaks volumes about his passion. He wasn’t just interested in murals; he saw them as gifts of art to the public. Projects like the WIP exhibition and Sassoon Dock reflected his vision, as these spaces became intersections for people from different worlds to meet and experience art together.

St+art. Our choice of medium is carefully considered based on the site’s characteristics and what will best bring the theme to life. For example, large facades in residential neighbourhoods like Lodhi Colony lend themselves to expansive, bold murals that can be enjoyed from a distance. But in spaces like warehouses or industrial zones, where the environment is more immersive, we might opt for multimedia installations or soundscapes to create a layered experience. Each medium is selected to enhance the interaction between the art and its setting.

St+art. We envision an India where art is embedded in the pulse of cities, a natural part of the urban landscape that brings people together. Our vision is a country where art is not confined to galleries or reserved for the few but is visible, approachable, and part of the everyday experience. Through our work, we hope to inspire more communities to embrace art, seeing it as a tool that reflects and strengthens their identity.

St+art. For young artists, our advice is simple: engage with the context. Public art is most impactful when it speaks to its environment and resonates with the people who live there. Understanding the community, respecting the space, and being open to adapting one’s vision are essential. This connection with the local context is what transforms a mural or sculpture into something more—a piece of the city’s soul.