Is public art losing its local touch in Hyderabad?

Busy junctions, bridges, cool neighborhoods and flyover walls across Hyderabad are changing canvas for public art. From natural and education inspired murals to sports icons, everyday heroes and paintings of historical sites of the city, there is a lot. They brighten the urban landscape in the open air and bring the art closer to the public. But not everyone is convinced – some feel that the murals are more ornamental than meaningful. This Greater Hyderabad Municipal Corporation (GHMC) is all part of the ongoing beautification drive.

City-based artist and curator Aman Preet Kaur raises a relevant question: is public art losing its direction in Hyderabad? “Each piece of public art is a chance to connect with the community. But this ability often becomes unused,” she says.

Flyover in Hyderabad in Jubilee Hills | Photo Credit: Siddhant Thakur

Road number 45, murals with Jubilee Hills – large illustrations of a monkey, frog, chicken and deer. For peace, they feel random. “What is the idea behind these animals staring with columns?

Avni Rao Gandra, a senior artist and founder of ICONART Gallery, shared a similar scene. She pointed to sculptures like a thinker near Narsingi Circle, working in the metal Gachibovali Traffic Islands, and IKA has an animals with styled. When they increase visual experience, they feel that they remember a big opportunity. “Kala that reflects the heritage of Telangana such as Nakashi, Kondapalli, or Bidari is placed near cultural centers, or contemporary pieces that echo the spirit of a rapidly changing city, help to convert Hyderabad into a city that tells its story,” she says. “What we want is a thoughtful mix of historical and present.”

Avni Rao Gandra, the founder of Iconart Gallery | Photo Credit: Special Arrangement

Over the years, public art has increased continuously throughout the city. Steel sculptures and metal establishments have become more common at traffic junctions, but some carry any type of credit. Aman Preet says, “If they were site-specific or interactive, these works will have more impact.”

Floating rock structure in moazzam jahi market | Photo Credit: Siddhant Thakur

She also points to floating rocks, which was installed in the Mozam Jehi Bazaar four years ago – a replica of a piece by the late Egyptian sculptor Smbon Abbas: “There is no mention of the original artist. If we can’t create anything new, at least we must accept the source.”

Artists pair Swati and Vijay have been using street art to make headlines in Hyderabad, Vijayawada and Visakhapatnam for more than a decade. His recent work in Telpur also addresses the child’s crowd and exploitation. For Swati, originality is important: “Authentic work is noted, whether it is on a main road or backstart. Even a simple flower provided in the unique style of an artist seems more competent than something raised from Pinterest.”

Swati Vijay on the crowd and exploitation by Swati Vijay by road art. Photo Credit: Special Arrangement

Credit remains a difficult issue, especially for mural paintings where many artists work together. But for sculptures and installations, Aman Preet believes that tagging is possible and necessary. “Every public artwork, even if it is a replica, deserves a label, provides the artist’s naming and some reference. It creates awareness and creates a place for deep engagement,” she says. “We can start with striking stone sculptures displayed with Raj Bhawan Road from the International Sculpture Seminar.”