It’s been more than three years since Kritika Mahindra co-founded Art on the Wall. The seed of the idea for the initiative was sown when her friend, and now the dormant partner on the project, told her about something interesting she had recently witnessed. “Her mother has a school she runs, and she wanted it whitewashed. She called a few painters to do the job, and while they were at it, they also began to doodle cartoons and caricatures on the walls. When asked why, they said that since it was a school, they thought the children would like having these images on the walls.” Mahindra remembers questioning them further, and realising that this kind of work, which involved “art on the wall”, was their primary work anyway, but the advent of digital printing, and the lack of assignments coming their way had forced these painters to resort to whatever work they could get— plain whitewashing included.
For a while, Mahindra and her friend slept on the idea, and then, they decided to launch Art on the Wall, a platform that would connect these artists with the right kind of assignments, ones that would let them use their talent and skill. “We wanted to organise opportunities for these artists, so that their work could reach places — residential and commercial areas, schools, malls and more.” So Mahindra began to look for film posters, billboards, signboard artists, and found out that most of them were living in vulnerable, impoverished situations, working odd jobs to make ends meet.
In the last three years, Mahindra has connected with several such artists, and currently, has seven on board. “They aren’t on our payroll or anything, but they are the ones we reach out to when we have a query for a job. They are all exceptionally good at a particular style of wall art, and a couple are really good at canvas work. We have been trying to help them transfer those skills on the wall.” All the artists Mahindra has connected with are also doing other jobs, since Art on the Wall works on an assignment to assignment basis. Being connected with Mahindra’s initiative, though, gives them a chance to continue practicing a style and tradition of art that they were losing.
“My aim to let these artists concentrate solely on their art form. I answer the client’s queries and speak to them, organise meetings and negotiate prices etc.” The more they work, Mahindra adds, the more they also adapt to the changes in styles, technology and demands. “Now, they know that sometimes the client is looking for more contemporary and modern work. They are able to look at the design they are given and interpret it in their own unique way.”
So far, the initiative works solely on word of mouth publicity and references. “I first want to gain the confidence of the artists we are working with, to assure them that this is not temporary. This will let them know that they can expect regular work. I will also bring back their confidence in their own talent. Once I have that, we can take this to a bigger and more commercial scale.” Once she does get a query and assignment, Mahindra looks in her pool of artists to see who is willing and available, and also, most in need of work. “So far, we’ve kept the charges low, so that more work comes our way.” A lot of that work, she adds, is coming from a generation that still remembers the film-posters and signboards of yesteryear. “I’ve got my parents, and their friends, asking if they can have that work in their homes”
Right now, Art on the Wall runs out of Mahindra’s home, and is entirely self-funded by the founders. “I have always loved art, and I’ve always wanted to connect to the art world in some way. The story I heard during the whitewashing incident resonated with me.” Mahindra adds that she has always felt strongly for people who have talent, and passion, but do not have a platform or opportunity to use it. “I want to bring people’s talents together with the right platform it needs.” Art on the Wall, too, is expanding in its own way, and now, Mahindra is using the initiative to connect with young people, some even right out of college. “These are kids who know what they are good at, but don’t know how to go about using their skills. I want to help them find the right assignments, and see where they can be accommodated.”
Finally, Mahindra talks about why she has so far stayed away from other, larger initiatives across the city working with wall art, the biggest of which is clearly Delhi’s Street Art Festival, or St+Art. “Right now, the most important thing is to make sure that these artists have the confidence to stand shoulder to shoulder with their clients, and talk to them with authority and confidence. Their work is as worthy of respect as anyone else’s, but they haven’t got that respect. They have lost their self-confidence, and they are used to being treated as labour, to being called ‘bhaiya’. I want them to first come into their own, and be able to look the client in the eye and make their own suggestions to a design, like artists do, before putting them in situations where they might be uncomfortable.”
