Hand-Painted Warli Murals for Public and Community Spaces
I transform public walls into cultural storyboards using traditional Warli art. Every mural is hand-painted, durable, and designed to engage.
The completed Warli art border on the stage of a government school. This project was about bringing traditional Indian folk art to the children, creating an inspiring and culturally rich environment.
A view down the school corridor, showing how the Warli murals are integrated between the doors and windows. The paintings depict scenes like women drawing water from a well, adding narrative details to the building's exterior.
On another wall at the same school, I painted this large mural using a different technique. The red-brown line art on the light wall shows a village scene with a prominent tree, demonstrating how the style can be adapted.
A detailed section of the school mural border. This panel shows a festive procession with figures playing traditional instruments like the tarpa, capturing the spirit of celebration in simple geometric shapes.
This close-up from the school project features a musical trio. The hand-painted details, from the instruments to the movement of the dancer, are characteristic of authentic Warli storytelling.
Another detail from the school mural, showing two figures playing drums while a smaller figure dances between them. This panel focuses on the theme of music and community rhythm.
This panel depicts a scene of daily life. A figure sits weaving or preparing food, a hut with chickens is shown, and another person tends to a cooking pot, all rendered in the classic Warli style.
About this collection
My murals for schools and community spaces are built to last. I use exterior-grade emulsion and clear varnish because public walls see heavy traffic, sun, and rain. You will not find stencils or prints here; every Tarpa dancer and geometric pattern is painted by hand, keeping the traditional look and the unique imperfections that make this art real.
Authentic Warli Storytelling
When I take on a public or community project, the goal is to bring the wall to life. Warli isn't just about filling space with patterns. I use narrative scenes—village life, farming, or the Tree of Life—to create a visual rhythm that encourages people to stop and look.
Built for the Outdoors
Public spaces have different demands than a living room wall.
- Durability: I use exterior emulsion paints like Asian Paints Apex or Ultima. These are weather-resistant and handle direct sunlight and Bengaluru's monsoon rain without fading.
- Preparation: I clean and prime the surface thoroughly before the first drop of paint touches the wall.
- Finish: A final coat of clear varnish ensures the art stays protected against dust and daily contact for years to come.
The Process
I don't use stencils. Every line you see is a freehand stroke. This means your wall will have the organic flow of traditional tribal art, not the robotic precision of a print. Whether it's a 10-foot school boundary or a café entrance, we start with a conversation about the story you want to tell, then I sketch and paint it onto the surface.
Sharan Ediga
Art is my heart. I’m Sharan, and for me, painting isn't just about the canvas. Whether it’s a school corridor or a community wall, I want the art to feel like it belongs to the space. No stencils, just me and the wall.
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