Chapter 1: Encountering the Mural

After completing my shift on the Felix project, I headed back to Urban Locker in Old Street. As I turned onto Brick Lane, I stumbled upon a striking mural that consumed an entire wall. It was impossible to overlook. The upper section showcased a barefoot boatman, while the lower half illustrated a woman seemingly tending to a rice field. Instantly, I felt compelled to learn about the artist behind this remarkable piece.

Titled "The Land is Calling," this mural was created by Mohammed Ali, a street artist born in the UK. According to his website, he aims to share the stories of the people who pass by his art daily, believing it would be selfish not to do so. This mural serves as a heartfelt tribute to his ancestral roots in Sylhet. Here’s my conversation with him.

Me: Is it necessary to view public art in areas like Brick Lane through the lens of gentrification?

Mohammed: It concerns me that the public art in these neighborhoods often neglects the heritage of the local residents. It frequently caters to outsiders, focusing on those drawn in by trendy cafes and boutiques. These have replaced longstanding Islamic bookstores, clothing shops, and restaurants established by the Bangladeshi community in Brick Lane, leading to a gradual erosion of these communities. While I recognize that not all blame falls on city planners and developers, the local community has, in some ways, failed to assert itself. There’s currently a campaign called "Save Brick Lane," aimed at addressing these issues. However, it seems that the community has been somewhat complacent, feeling overwhelmed by larger forces and unable to resist. It raises numerous questions about how this situation has unfolded. Overall, I find it deeply troubling that local histories are being overshadowed by this phenomenon I refer to as "hipstrification," erasing the rich narratives of immigrants who have come and gone, leaving no trace behind. My intention with the mural was to create a lasting impression, a visible reminder that while shops and communities may disappear, the art can endure.

Chapter 2: The Role of Storytelling

Me: Reflecting on the quote from your website, how do you distinguish between being a storyteller and a muralist? Are they intertwined?

Mohammed: They are indeed intertwined. My artistic endeavors are rooted in storytelling. I strive to convey something meaningful and resonant for the audience. Whether through visual art or sound, I aim to weave narratives into my work. I have no interest in being a muralist solely for aesthetic appeal; my focus is on creating art with depth and significance. Over time, I’ve come to realize that my role extends beyond just being a muralist; I am fundamentally a storyteller. Each mural I create is informed by the stories of the local people. I dedicate time to immerse myself in the community, gather recordings, and conduct interviews to ensure my art reflects their experiences. This process has led me to understand that capturing these narratives is essential to my work.

Chapter 3: The Roots of Street Art

Me: What inspired you to delve into street art?

Mohammed: Growing up in the 80s deeply influenced my connection to hip-hop culture, which emerged as a powerful voice for youth during that era. Street art was born out of social unrest and decay, and it provided a platform for self-expression. Although I wasn't surrounded by the same level of poverty as communities in the Bronx, I grew up in a deprived area within an immigrant community. Street art became my entry point into the art world, allowing us to define our own genre. It felt empowering to create art that belonged to us, using unconventional tools like spray cans on brick walls rather than traditional canvases. This accessibility resonated with me, and it was exhilarating to carve out a space for our voices.