Muhammed speaks to Blur The Border :

Blur : You initially studied biology before deciding to follow your passion and pursue a Bachelor’s degree in Fine Arts in 2011. What sparked that turning point, and how did you navigate the personal or external expectations that might have accompanied the decision to move into a creative field?

Muhammed : I’ve been drawing since childhood and even competed in art festivals while attending weekend art classes. I chose biology after 10th grade mainly because I scored well, without fully understanding whether it suited me long-term. By 12th grade, I realised that pursuing a career in biology would be challenging and misaligned with my strengths. When I learned about the Bachelor of Fine Arts program, the decision was clear: it was entirely focused on art and drawing, and it felt like a natural return to what I had always been passionate about.

Blur : How has your artistic style evolved over the years, and how do you view this evolution?

Muhammed : Over the years, my artistic style has evolved from simpler, more literal representations to compositions with deeper narrative and emotional layers. In the beginning, I focused mostly on technique and accuracy, but as I grew more confident, I became more interested in mood, symbolism, and the relationship between forms. I see this evolution as a natural progression, a combination of improving skill, expanding influences, and understanding what truly resonates with me. Each stage has taught me something valuable, and I feel my work now reflects a more intentional and mature visual voice.

Blur : Do you have a signature style in your works, and in your opinion, should artists have a signature style through which they are recognised?

Muhammed : There is a certain visual language that repeats in my work, the way I use form, color, and flow. I see it as a natural signature, something that developed without me consciously trying. As for whether artists should have a signature style, I feel it’s a personal choice. Some artists thrive within a recognisable aesthetic, while others grow by constantly reinventing themselves. Both paths are valid. Recognition comes from honesty in the work, not just consistency.

Blur : Do you have a definitive process while creating? Are there any habits or rituals that help you get into a creative mindset?

Muhammed : I do have a general process: Observation, rough sketches, refining shapes, then building the final details. It’s not rigid, but it keeps me grounded. To get into the creative headspace, I rely on a few small routines, Scrolling through the internet, checking master's works, good music and a bit of quiet time. These help me switch off distractions and tune into the work.

Blur : Your professional background includes roles as a designer across highly distinct models—from FTW, Dunzo, to now Kiwi. In your experience, what key insights have you gained regarding the unique ways that design acts as a critical function across such varied business models?

Muhammed : Working across FTW, Dunzo, and now Kiwi has shown me how differently design operates depending on the business model, yet how essential it remains in every context. At FTW, design was about building trust and clarity in a B2B ecosystem, simplifying complexity and making information feel accessible. At Dunzo, the pace was drastically different. Design had to be quick, iterative, and hyper-contextual because consumer behaviour changes by the hour. It taught me the value of agility, data-driven decisions, and balancing creativity with high-frequency experimentation.

At Kiwi, design becomes a strategic growth driver, shaping user perception, simplifying a financial product, and building a category that’s still new in India. Here, design is both brand and product: it educates, acquires, and retains. Across all three, the biggest insight is that design is never just about visuals, it’s an operating system for how a business communicates, earns trust, solves friction, and evolves.

Blur : Alongside working for companies, you have also established a strong foothold as an independent artist. What processes or disciplines from the corporate environment have you carried into your solo artistic practice?

Muhammed : To be honest, I relate a lot to the idea: “Don’t love your company, love your job.” Most of the time, I try to see my job simply as a job, something that helps me stay financially stable and grounded. I put in my best, but I also keep healthy boundaries. My personal, artistic side is something I hold separately from the corporate work culture. It’s where I explore, experiment, and stay connected to what genuinely inspires me. That balance helps me stay creative without letting one world consume the other. Also, ​​corporate design taught me discipline, the importance of planning, pacing, and refining with intention. I’ve brought those same structures into my solo art practice: setting small milestones, revisiting ideas with a critical eye, and maintaining consistency even when inspiration fluctuates. At the same time, the ability to communicate my ideas clearly, something I learned in company environments, helps me define the story or emotion behind each personal piece. That balance lets me stay grounded professionally while still nurturing a creative space that feels entirely my own.

Blur : Given the rapid changes in the digital landscape, what specific tools, platforms or learning methodologies do you recommend for Indian designers to upskill themselves continuously?

Prarthna : I don’t have a rigid system for learning, but there are a few habits I follow consistently. Every day, I spend time exploring design inspiration and updates, whether it’s Behance, Pinterest, design blogs, or new creative platforms. For professional work, I also use AI tools to stay updated and to speed up parts of the workflow when needed. Lately, I’ve realised that continuous learning isn’t just about mastering new tools. It’s more about building a flexible mindset, one that adapts to changing technology, shifting user behaviour, and new design possibilities. That adaptability is becoming just as important as technical skills.

Blur : Are there any other mediums you find interesting and would like to explore in the future?

Muhammed : Yes, apart from digital and small-scale mediums, I’m genuinely interested in working on larger, more physical formats. I’d love to explore big wall projects and murals, where the work interacts directly with space and people. I’m also keen on more tangible outputs like print and packaging, especially traditional processes such as serigraphy or screen printing, because they make the artwork feel more real, permanent, and hands-on.

Blur : If you were to collaborate with other artists, outside of your discipline, what is one collaboration you would love to do?

Muhammed : If I were to collaborate outside my discipline, I’d love to work with architects or spatial designers. Collaborating on walls, public spaces, or site-specific projects would allow illustration to scale up and become part of lived environments. I’m especially interested in how art can integrate with structure, material, and everyday use rather than existing only as an isolated image.

Blur : In a moment of rapid change, what is one question you’re sitting with — or one you think our community needs to reflect on and discuss more openly right now?

Muhammed : In a time of rapid change, one question I keep returning to is how we can slow down without losing relevance. As technology accelerates production and visibility, I think our community needs to reflect more openly on what it means to create work that is thoughtful, rooted, and meaningful, rather than simply fast or consumable.