The Origin of the World by Borondo, Lodhi Colony, Delhi. Image © Naman Saraiya

街道艺术基金会正透过政府的支持，改变印度的城市景观。
This Street Art Foundation Is Transforming India's Urban Landscape—With the Government's Support

由专筑网缕夕，李韧编译

上个月，ArchDaily有机会采访位于德里的非盈利性St + Art印度基金会的设计总监Akshat Nauriyal，该基金会的目的是将艺术嵌入街道。这是一个在德里、孟买、海得拉巴和班加罗尔的印度大都会的项目，目的是让城市公共空间和城市结构得到转型。该基金会的主要项目为住宅设计工作，他们在德里的Lodhi殖民地创建了国家的第一个公共艺术区，德里基金会也与地铁公司合作，创造了过渡空间。而ST +艺术印度的实验显然植根于社会活动和城市设计，它们标志着街头艺术在城市应用的历史时期的一个重要时刻：这是街头艺术家第一次和政府之间的接触与合作。

Last month, ArchDaily had an opportunity to speak with Akshat Nauriyal, Content Director at Delhi-based non-profit St+Art India Foundation which aims to do exactly what its name suggests—to embed art in streets. The organization’s recent work in the Indian metropolises of Delhi, Mumbai, Hyderabad, and Bengaluru, has resulted in a popular reclamation of the cities’ civic spaces and a simultaneous transformation of their urban fabric. Primarily working within residential neighborhoods—they are touted with the creation of the country’s first public art district in Lodhi Colony, Delhi—the foundation has also collaborated with metro-rail corporations to enliven transit-spaces. While St+Art India’s experiments are evidently rooted in social activism and urban design, they mark a significant moment in the historic timeline of the application of street art in cities: the initiative involves what it believes to be a first-of-its-kind engagement between street artists and the government.


Unusual Usual by Do and Khatra, Hyderabad. Image © Pranav Gohil

Suneet Zishan Langar：你能解释一下印度St + Art的起源吗？你的主要目标是什么？

Akshat Nauriyal：从本质上说，我们从2014年开始就有一些不同的意图：使公共空间更加活跃，具有互动性，使艺术更加民主。我们团队有五个来自不同背景的共同创始人。我是一个电影制片人和视觉艺术家，我以前工作过记录城市的新兴亚文化。Hanif Kureshi是一位积极参与街头艺术的艺术家。同时，Arjun Bahl和Thanish Thomas拥有组织工作的经验，Giulia Ambrogi则担任过策展人。我们在Extension Khirkee艺术节上相遇，并且发现我们都在做同样的事。这就是我们的第一个关于Shahpur Jat的项目。

Suneet Zishan Langar: Could you explain the origins of St+Art India? What are your primary objectives?
Akshat Nauriyal: Essentially, we started around 2014, with twin intents: to make public spaces more vibrant and interactive for the people who use them the most, and to make art more democratic as a medium. We have five co-founders and all of us come from very different backgrounds. I’m a filmmaker and visual artist and I have previously worked documenting the city’s emerging sub-cultures. Hanif Kureshi is an artist who has been actively involved in the street art community. Meanwhile, Arjun Bahl and Thanish Thomas have a background in events and logistics and Giulia Ambrogi worked as a curator. We all got in touch around the time of the Extension Khirkee street art festival when we found we were all in six degrees of separation wanting to do the same thing, and that’s how our first project came about in Shahpur Jat.


Artwork by Ranjit Dhaiya, Shahpur Jat, Delhi. Image © Akshat Nauriyal

SZL：你为什么选择Shahpur Jat社区？

AN：Shahpur Jat为我们提供了一个非常有趣的艺术空间，因为我们想在一个能够通过步行达到的高密度区域工作。而且，这是一个正在迅速发展的城中村。在以前，这里主要是居住区，但由于廉价的租金和邻近的南德里，其周边地区变得非常高档。所以虽然很多豪华的精品店和咖啡馆都在周边开放，但这里的内部却仍然是小型住宅区。

SZL: Why did you choose the Shahpur Jat neighborhood?
AN: Shahpur Jat provided us a very interesting space for an art intervention since we wanted to work in a high-density area which was also navigable by foot. Moreover, it is an urban village that was rapidly changing. Back in the day, it used to be predominantly inhabited by the Jat community, but due to cheap rents and its proximity to South Delhi, its peripheral areas were becoming really gentrified. So while a lot of posh boutiques and cafés had opened up on the perimeter, on the inside it was still primarily residential with small hole-in-the-wall shops.


Artwork by Harsh Raman, Shahpur Jat, Delhi. Image © Akshat Nauriyal

SZL：你如何获得在墙上安装艺术作品的资格？

AN：我们通过以下两种方式：首先，请求居民让我们在墙上涂漆。有些人说不，其中有些人则表示赞同，那么这就是它开始的原因。通过这种方法我们也去了MCD（德里市政公司）和CPWD [中央公共工程部门]等权力机构或者其他学院。

SZL: How did you obtain permissions to install artwork on walls?
AN: We sought permissions in two ways: bottom up and top down. Bottom up would mean that we went door-to-door and asked residents to permit us to paint on their walls. Some of them said no, some of them said yes, but that’s how it began. The top down approach meant that we went to authorities such as the MCD [Municipal Corporation of Delhi] and the CPWD [Central Public Works Department] or other faculties that had the rights or the ownership to the places.



最后，我们在德里警察总部做了这幅壁画，德国艺术家Hendrik Beikirch和印度艺术家Anpu的一幅巨大的圣雄甘地肖像。这个时刻这对我们来说具有重大的意义，在世界街头艺术的历史时期，涂鸦有时带有消极的负面含义。所以当街头艺术家在一座政府大楼的外墙上画一幅158英尺壁画时，这一刻的困难并非仅仅存在于这项工作的规模，其背后的含义更加重要，这标志着街头艺术与政府的首次接触。

Towards the end, we did this mural on the Delhi Police Headquarters, a huge portrait of Mahatma Gandhi by German artist Hendrik Beikirch and Indian artist Anpu. That was a huge moment for us in the sense that, in the historical timeline of street art in the world, graffiti if not street art has always had negative connotations of vandalism. So when we’re having street artists paint a 158-foot mural on the façade of a governmental building, that moment holds immense significance not just for the scale of work, but also for its larger relevance. This marked a first-of-its-kind engagement with the government.


The Painted Revolution by Tyler, Delhi. Image © Naman Saraiya

SZL：你从哪里获得主要的资金？

AN：我们与许多文化机构、领事馆或大使馆合作，为艺术家和基金项目提供资金。从本质上讲，我们的大部分项目都由一些领事馆资助。我们现在和德国、波兰、新加坡和瑞士等20个国家合作。另一个主要支持者是Asian Paints。我们所做的许多工作都需要庞大的基础设施和大量的油漆，所以从这个意义上说，Asian Paints非常符合我们的需求。

SZL: Where do you primarily obtain funding from?
AN: We work with a lot of cultural institutions, consulates or embassies to bring artists and fund projects. So essentially, most of our projects are funded by some consulate. We work with almost 20 now such as Germany, Poland, Singapore, and Switzerland. Another major supporter is Asian Paints. A lot of the work we do requires huge infrastructure and a lot of paint, so in that sense Asian paints was a very logical match for us.


There is Nowhere to Go but Everywhere by Hendrik Beikirch, Delhi. Image © Akshat Nauriyal

SZL：你如何选择你合作的艺术家？分享一下你的工作流程。

AN：我们首先纵观整个项目，然后再去了解最合适的人选。我们寻求与不同组织建立非常有意义的伙伴关系，其中既有非政府组织，也有文化机构，或与此有关的品牌和企业。一旦我们确定了艺术家，我们主要与他们合作，并使用他们的风格。

SZL: How do you choose the artists that you collaborate with? Explain your work process.
AN: We first synthesize the project, and then work backward to see who’s the best fit for the kind of curation we’re doing. We seek very meaningful partnerships with different organizations, whether it’s an NGO or a cultural institution, or brands and corporates for that matter. Once we finalize the artist, we primarily work with them and the style that they use.


The Lotus by Suiko, Lodhi Colony, Delhi. Image © Akshat Nauriyal

SZL：你为什么认为民主化的艺术是重要的？

AN：我们认为艺术至少是作为一种产业存在的方式，然而却已经被社会边缘化，只局限于社会的一小部分，甚至成为了富人和精英的新奇事物。我们想以某种方式突破常规画廊的展览方式，因为如果你去博物馆参观展览，也许一个月几百人的参观流量，这已经是一个很高的估计值。但是，如果你把这看作是体验艺术的地方，那么每天都会有成千上万的人穿越这些区域，就艺术品所能达到的范围而言，这是一项巨大的吸引力，能看到这些艺术品的人比在博物馆当中要多得多。

SZL: Why do you believe that democratization of art is important?
AN: We feel that art, at least the way it exists as an industry, has become marginalized only to a very small section of society, almost a novelty of the rich and the elite. We wanted to somehow break out of the regular gallery structure, because if you see the kind of footfall museums receive, it’s maybe a few hundred in a month, and that’s a high estimate. But if you flip that and look at public spaces as places to experience art, then you have thousands of people crossing these areas every day, and just in terms of the reach that the artwork can have, it's tremendous, exponentially larger than what it can have in a closed environment.


Artwork by Sergio, Shahpur Jat, Delhi. Image © Jayant Parashar

SZL：你认为这会影响到整个社区还是一个人？

AN：我认为影响是多方面和多层次的。不同的地方反应不同。所以以我们的经验表明，如果我们在一个社区工作，就会增加那个社区的自豪感。看到人们到自己的社区，感受到自己的周围环境，这是一件很令人高兴的事。例如，在Shahpur Jat，我们画的第一个作品是印度艺术家Anpu的一只猫，它很快成为当地认可的地标。人们根据这只猫来定位。居住在这座建筑物中的人在社区中变得非常知名，更多的人邀请我们为他们的墙壁进行涂鸦。

SZL: How do you think this affects a community or a people?
AN: I think the impact is very multi-faceted and layered. Different places react differently. So we’ve seen in our experience that if we’re working in a neighborhood, it leads to an increased sense of community pride. And it is really endearing to see people take to their own neighborhoods, to feel ownership of their surroundings. For example, in Shahpur Jat, one of the first walls that we painted was this mural of a cat by Indian artist Anpu and it quickly became a locally recognized landmark. People started giving directions based on its location. The people who lived in that building became very well known in the community which led to more people approaching us to paint their walls.


Cat mural by Anpu, Shahpur Jat, Delhi. Image © Akshat Nauriyal

SZL：德里市该公共艺术区无疑是你最大的城市设计作品。在该殖民地的选择是什么？另外，你认为你的工作改变了社区的结构和意义吗？

SZL: The Lodhi Public Art District in Delhi is undoubtedly your largest urban intervention. What was the idea behind the selection of Lodhi Colony? Also, how do you think your work has altered the structure and meaning of the neighborhood?


Vishvaroopa by Inkbrushnme, Lodhi Colony, Delhi. Image © Akshat Nauriyal

AN：是的，选择Lodhi殖民地有很明确的意图。我们想以一个开放式的画廊形式创作出多种艺术作品，人们可以每天画几个小时来这里探索这个城市。所以Lodhi是一个自然的选择。它位于德里的一个僻静的区域，周围环境相对友好，易于导航，并且有组织规律，整块区域的风格具有当地从传统特色。它呈现的外观十分美丽，大而对称，这意味着几乎每个艺术家都能在这里随心所欲的创作。因此，整个项目都有对称的外表。此外，它在南德里的位置以及它是一个住宅殖民地的特点也是重要因素，作为一个政府拥有的住宅殖民地，它并没有遭受任何威胁，所以我们选择在这里进行艺术创作。

AN: Yes, there was a very clear intent in picking Lodhi Colony. We wanted to create multiple artworks in the form of an open walkthrough gallery where people could just come and spend a few hours a day and have a good time exploring the city. So Lodhi was a natural choice. It is one of the rare places in Delhi which is pedestrian-friendly. It’s also well organized in the sense that it’s easily navigable, and it has symmetrical blocks created in a localized typology. The façades that it presented were beautiful, large and symmetric, which meant that almost every artist got a similar canvas to play with, and hence, there is a semblance of symmetry to the entire project. Moreover, its location in South Delhi and the fact that it is a residential colony were other key points. As a government-owned residential colony, it didn’t face any threat of being gentrified, so we knew that the artwork would stay on.


3 Dead Dahlias by Amitabh Kumar, Lodhi Colony, Delhi. Image © Akshat Nauriyal

就其影响而言，我们目睹了许多人开始感到自豪，这个街区已经成为城市旅游地图上的一个旅游景点。现在，当你去Lodhi，在街上发生的事情，无论是拍一张照片，或者一个音乐视频，抑或是日常生活的某个片段，这些都能成为欢乐的瞬间。我们在与Swacch Bharat Abhiyan（清洁印度使团）合作的时候，我曾经听说，曾经有个人在这里停车，然后下车解手，遭到几个当地人的强烈反对，他们说，“有人为这美丽的东西努力。你没有资格弄脏它，请你去公共厕所。”这些都是一些细节，也许只是让你感觉更好，或者分散你的注意力，或者让你思考，但它也可能有更深层次的社区建设或保持街道清洁的含义。

In terms of its impact, we witnessed that many people started feeling pride that the neighborhood had become a place to visit on the city’s tourist map. Now when you go to Lodhi, there’s something happening on the streets all the time, whether it’s a photo shoot, or a music video, or ordinary people just having a jolly time. We did a wall in collaboration with the Swacch Bharat Abhiyan [Clean India Mission] and I remember speaking to one person who told me about a man who had stopped his car and was about to urinate on a wall when a few local people strongly objected saying, “someone’s taken the effort of painting this beautiful thing. Don’t dirty it, just go to a public toilet.” So the impact could be simple, maybe it just makes you feel better or it distracts you or it makes you think, but it could also have deeper meanings of community building or keeping the neighborhood clean.


Swachh Bharat Mural, Lodhi Colony, Delhi. Image © Pranav Gohil

SZL：你如何确保你的作品比其他相关的作品更有魅力？

AN：有人说我们做的每一个项目都是相关的，这并不正确。但这是因为我们与艺术家携手合作。因此，有许多艺术家的主题不一定相关。可以说艺术品令人愉快，这是街头艺术的一种方法。另一种方法则需要更深层次的场所意义与社会背景。我要表达的是，我们两者都有平衡。我们非常清楚，使用公共空间是一种责任，我们试图以最好的方式去完成每一个作品。

SZL:How do you make sure your artwork remains contextual to a neighborhood’s unique identity?
AN: It would be incorrect on my part to say that every project we do is contextual. But that stems from the fact that we work hand-in-glove with artists. So there are many artists that work with themes that are not necessarily contextual. Artwork that is aesthetically pleasing, so to speak, and that is one approach to street art. Another approach is to be highly contextual and socially relevant. I’d say that we have a balance of both. We’re very aware of the fact that using public space is a responsibility and we try to navigate that in the best manner possible.


9 Colors of the Soul by SENKOE, Lodhi Colony, Delhi. Image © Akshat Nauriyal

例如，在Lodhi殖民地，有很多美丽的事物是通用的，比如说SENKOE的艺术品就是五颜六色的鸟，或是一只使用印度扫帚作为作画工具的鞋子。

For example, in Lodhi Colony, there are a lot of beautiful pieces that are generic, say SENKOE’s artwork that features colorful birds, or the one Shoe did based around typography which used an Indian broom as a painting tool.


Artwork by Niels Shoe Meulman, Lodhi Colony, Delhi. Image © Akshat Nauriyal

但同时，还有像Shilo所做的那些片段。她与一个叫做“Sewing New Futures”的非政府组织合作，在德里纳杰夫加省工作，这个地区有很多妇女被迫卖淫。该组织与这些妇女合作，为她们提供生计来源。Shilo与那里的年轻女孩合作，她们的故事成为项目背后的灵感。

But at the same time, there are pieces like the one done by Shilo. She worked with an NGO called Sewing New Futures, which works in Najafgarh, Delhi, an area where a lot of women are forced into prostitution by their families. The organization works with these women to empower them with alternative sources of livelihood. Shilo worked with the young girls there, and their stories became the inspiration behind the project.


From Your Strength I Weave Beauty by Shilo Shiv Suleman, Lodhi Colony, Delhi. Image © Akshat Nauriyal

[“来自你的力量，我来编织成美丽的壁画”，Shilo Shiv Suleman确定了两个女性社区。老女人走出迷雾的左侧；她的内心在深深的挣扎，这些纠结的情绪已经反应在她的脸上。 另一方面，她的女儿把云雾从黑暗的天空拉出来，编织成金色的炼金线条，为她们创造了一个新的未来。]

[The mural “From your Strength, I Weave Beauty” by Shilo Shiv Suleman identifies two women from the community. An older woman steps out of the mist on the left side; her struggle has carved lines into her face as she navigates the night inside her. On the other side, her daughter pulls this fog out of the dark sky and weaves it into alchemical threads of gold, creating a new future for them both.]



同样的，在班加罗尔，我们也与这个组织进行了一个名为“Aravani Art Project”的项目，该项目在跨性别社区内开展工作，以供大家参考，并开展关于较大型LGBTQ社区内普遍存在的问题的讨论。 它试图证明变性人与其他任何人一样熟练和能干，并且可以为社会作出贡献。

Similarly, in Bangaluru, we did a project with this organization called the Aravani Art Project which works within the transgender community to provide visibility, and open up discussion about issues that are prevalent within the larger LGBTQ community. It seeks to demonstrate that transgender people are just as skilled and able as anyone else, and that they can contribute to society.


Naavu Idhevi - We Exist by Aravani Art Project, Bengaluru. Image © Akshat Nauriyal

[Aravani Art Project的壁画“Naavu Idhevi——我们存在”以跨种族为中心，提供社区在印度密集社会中的存在感。这幅画使用几何形状，形成一个拒绝远离性别的面孔，以及拥有男性和女性特征的芙蓉花。芙蓉在边缘生长，在印度的街道上以其丰富的色彩吸引过往的行人。]

[The mural 'Naavu Idhevi - We Exist’ by Aravani Art Project features a trans person as its centerpiece to provide a reminder of the community’s existence in India’s dense society. The painting uses geometric shapes that form a gender-fluid face refusing to look away, and the Hibiscus flower which is known for having both male and female parts. The Hibiscus, like the trans person, grows on the fringe and lights up Indian streets in an unapologetic burst of color and diversity.]


Crochet-work by Olek, Delhi. Image © Pranav Mehta

我们也曾与一个叫Olek的美国艺术家合作。德里市的住房委员会为这个城市的无家可归者创造了避难所，为了突出这一举措，Olek与来自不同社会经济背景的近三十名妇女合作，创造了这个项目，我们用一公里长的织物覆盖着夜幕。

We also worked in Delhi with an American crochet artist called Olek. The Delhi Urban Shelter Board had created night shelters for the city’s homeless people and in order to highlight this initiative, Olek worked with almost thirty women from different socio-economic backgrounds to synthesize this project where we used a kilometer-long fabric and draped the entire night-shelter in it.


Kempegowda by Ullas Hydoor, Bengaluru. Image © Akshat Nauriyal

在Bangaluru，我们主要与印度艺术家合作，因为我们想让他们谈论自己的城市，并通过墙壁建立乡土叙事。 一位名叫Ullas的艺术家，是Bangaluru的创始人之一，在Kempegowda作了壁画。Appupen是漫画家，在一个地铁站做壁画，以民间故事或寓言的方式记录了与城市历史相关的故事我们对当地的叙述感到敏感，但我们的工作为我们提供了可能，只要有可能，与我们一起工作的艺术家，都愿意尝试融入项目。

In Bangaluru, we worked primarily with Indian artists because we wanted to let them talk about their cities and build local narratives through the walls. An artist called Ullas did a mural on Kempegowda, one of the founding fathers of Bangaluru. Appupen, a comic book artist, did murals in a metro station which chronicled stories associated with the city’s history, almost like folk stories or fables. So yes, we’re sensitive to the local narrative that the places that we work in offer us and wherever possible, with the artist that we’re working with, we try to synthesize projects that are inclusive.


Artwork by Appupen, Bengaluru. Image © Pranav Gohil



SZL：交通是现代城市生活当中一个平凡的但不可避免的部分。你相信你在地铁站的工作有助于重新定义公交空间的功能吗？

SZL: Transit is a mundane but unavoidable part of modern city life. Do you believe your work on metro-stations will help redefine the function of transit-spaces?


Artwork by Agostino Lacurci, Govindpuri Metro Station, Delhi. Image © Blind Eye Factory

AN：你使用了一个非常重要的术语——功能，我们相信，我们的城市建立在功能上，至少在大多数时间里都是这样。虽然城市设计发展迅猛，但仍然有很多需要。过渡空间越来越多地被用作通道，几乎要多过街道本身，因为更多的人现在选择使用公共交通工具。这些已经成为人们日常习惯的一部分，我们观察到，这让人变得具有惰性。所以我们试图将一些经验性的元素带入这些空间，这些空间虽然具有功能，这这些作品使得它们更具互动性。艺术作品的目的是增进人与人之间的交流与沟通。当你看到一件艺术品，有的人会说：“哦，我喜欢它。”，有些人则会不同意，在这个过程中，你会表达出，“为什么我喜欢它？”或者“我为什么不喜欢它？” 或者，如果你有任何疑问，可以向周边的人请教，甚至是一个陌生人，然后你们便可以开始对话。

AN: You used a very important term, function, and we believe that our cities are built to just be functional and nothing more than that, most of the time at least. While urban design is surely evolving in our country, it still leaves a lot to be desired. Transit spaces are increasingly being used as thoroughfares, almost more than streets themselves, as more people opt to use public transport now. These become part of a routine for people and we’ve observed that they can become really inert in the way they exist. So we’re trying to bring in an element of experience to these spaces that are just functional, something that makes them more interactive. It’s about conversation, the intention is that these efforts lead to dialogue between people, whether it’s internal or external. You see an artwork, some people think, “oh, I like it,” some people will disagree, and in the process you think, “why do I like it?” or “why don’t I like it?” or if you have a question you might just ask a person next to you, a stranger, and that starts a conversation.


Artwork by Nilesh, Arjangarh Metro Station, Delhi. Image © Pranav Gohil



一个很好的例子是我们在孟买Bandra的MTNL大楼上画的Dadasaheb Phalke壁画。Phalke是宝莱坞的元祖，这是第一个在这里形成运动形象的人，但没有人真正了解他。当我们挂壁画的时候，我记得我在公共汽车上拍照，座位前面有两个人在我面前。那位老人问：“哦，那是什么东西？”而这位年轻人，更加意识到这个城市发生了什么事，说：“这是一个名叫Dadasaheb Phalke的人，但我不知道他是谁”。在那里，我看到两个陌生人之间产生的这个伟大的对话，因为老人继续解释了Phalke的遗产。从本质上说，这就是我们工作的目的。因此，在过渡空间放置的东西，无论是关于令人愉悦的视觉效果，还是更深层次的内部对话，都会产生深远的影响。在城市设计方面，我们认为，我们有责任使城市成为这个国家的有力代表。

A good example of that is the Dadasaheb Phalke mural that we painted on the MTNL Building in Bandra, Mumbai. Phalke is the father of Bollywood, the first person to make a moving image here, but nobody really knows about him. When we put up that mural, I remember I was taking some shots as I rode on a bus, and there were two people in the seat right in front of me. The older man asked, ”Oh, what’s that?” and the younger guy, more aware of what was happening in the city said, ”It’s a man called Dadasaheb Phalke but I don’t know who he is.” And as I sat there, I saw this great dialog between two perfect strangers as the older man went on to explain the legacy of Phalke. That’s what our work is about, in essence. So something like that put in a transit space has a profound impact, whether it’s about its pleasing visuals, or a deeper internal dialogue. And in terms of urban design, we believe it is our responsibility to make cities that are representative of the point in time that the country or the city is going through.


Artwork by Artez, Hyderabad. Image © Akshat Nauriyal


Gandhi Mural by Hendrik Beikirch and Anpu Varkey, Delhi. Image © Akshat Nauriyal


There is Nowhere to Go but Everywhere by Hendrik Beikirch, Delhi. Image © Akshat Nauriyal


Artwork by Alber, Hyderabad. Image © Akshat Nauriyal


Gandhi Mural by Hendrik Beikirch and Anpu Varkey, Delhi. Image © Akshat Nauriyal


Artwork by Tofu, Shahpur Jat, Delhi. Image © Mridula Garg


Artvertising by Dia Metha Bhupal, Hyderabad . Image © Pranav Gohil


Artwork by Sam & Soph O, Arjangarh Metro Station, Delhi. Image © Pranav Gohil


Lavanya by Hendrik Beikirch, Lodhi Colony, Delhi. Image © Naman Saraiya


Dadasaheb Phalke by Ranjit Dhaiya, MTNL Building, Mumbai. Image © Akshat Nauriyal


Artvertising by Daku, Hyderabad . Image © Pranav Gohil


Crochet-work by Olek, Delhi. Image © Pranav Mehta


Artvertising by Dia Metha Bhupal, Hyderabad . Image © Pranav Gohil


Artwork by Senkoe, Arjangarh Metro Station, Delhi. Image © Pranav Gohil


Artwork by Ano, Shahpur Jat, Delhi. Image © Ricky


Artwork by Nilesh, Arjangarh Metro Station, Delhi. Image © Pranav Gohil


Artwork by Sam & Soph O, Arjangarh Metro Station, Delhi. Image © Akshat Nauriyal


Artwork by Agostino Lacurci, Govindpuri Metro Station, Delhi. Image © Blind Eye Factory


Artwork by Nilesh, Arjangarh Metro Station, Delhi. Image © Pranav Gohil


Fusion by Rakesh Kumar Memrot, Lodhi Colony, Delhi. Image © Akshat Nauriyal


Artwork by Niels Shoe Meulman and NEVERCREW, Lodhi Colony, Delhi. Image © Akshat Nauriyal


Garb Age by Horus, Delhi. Image © Akshat Nauriyal


The Lava Tree by Anpu Varkley, Lodhi Colony, Delhi. Image © Akshat Nauriyal


Artwork by Agostino Lacurci, Govindpuri Metro Station, Delhi. Image © Blind Eye Factory


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