When we think of mural art, what often comes to mind is something loud — colorful, edgy, sometimes political, sometimes unruly. This kind of work usually either stops everyone in their tracks, demanding their attention in an instant, or something fleeting, almost only owing a glance from the viewer.

But at HKWALLS, the definition of what a mural can be begins to stretch — softening at the edges, opening itself to a quieter, even more introspective form of storytelling one can expect from books.

For Chaaya Prabhat, whose works move across the realms of children’s books, digital spaces, and now public walls, storytelling takes on a gentler rhythm — one that invites pause, curiosity, and a childlike wonder that lingers.

In our latest Artist Spotlight, The Beat Asia sat down with Chaaya Prabhat as she reflects on her evolving practice, her work on children’s books, and the delicate balance of realism and whimsy.

Congratulations on being a featured artist for HKWALLS 2026! What drew you to participate in the festival, and what are you most excited about in creating work for a public space?

Thank you! I have been invited by HKWALLS as a digital artist this year, so my animated illustrations will feature on gigantic LED facades of the Tsim Sha Tsui Centre and Empire Centre — which is so exciting!

I don’t think I’ve ever created art for such a large façade before that’s going to be viewed as part of such an iconic city skyline, so I’m nervous and intrigued to see how it’ll turn out.

Murals live out in the open — sunlight, passing crowds, pollution. How does working at that scale make you feel about color, storytelling, and composition?

Working at a large scale is certainly very different from the media that I’m used to. I make illustrations for books and print, and I had to step out of my comfort zone to work on something at this scale.

I need to pare down details that are usually visible at a smaller scale, so they make sense when viewed from afar, and be smart about the colors I use so it doesn’t come across as jarring.

The storytelling, as well, has to be simple and straightforward since the artwork is very fleeting.

What’s your concept for your HKWALLS mural? What story or feeling are you hoping that people carry with them after seeing it?

I decided to work on a whimsical montage of what I imagine to be a cat’s daydream, called “Daydreams.” Having previously lived in Hong Kong and being familiar with the skyline, I knew if my artwork had to be up there, I wanted to make something absurd.

I was surprised and happy that HKWALLS picked up my pitch. I really hope that when people see it, they feel the joy I felt while creating it.

Will the vibe and atmosphere of Hong Kong influence your piece for HKWALLS?

Very much so! I used to live in Hong Kong, and in many ways, my tendency to illustrate cramped spaces, lots of detail, and visual chaos may have been influenced by my time in the city.

While creating the artwork for the digital façade, I very much imagined what it would look like as a part of the skyline — I wanted the reflections that show from the screen onto the water to look just as colorful as the screen itself. I wanted the artwork to be shape and color heavy so it can be viewed from across the waterfront or from the ferry.

Your work is instantly recognizable for its soft palettes, joyful characters, and childlike wonder. How has your work evolved over the years?

Thank you! It’s continuing to evolve with the years. Earlier, I may have focused a bit too much on style, but through the years I’ve allowed myself to play and have fun with my illustrations a little more, even if they meander into slightly different styles.

Many of your works feel playful, but also reflective. How do you balance whimsy with deeper themes, such as with “Farah’s Nose”?

I think creating books for children is a great practice for this, as I’m often dealing with topics that are serious and reflective, but at the same time, I’m catering to a very young audience, so I also want to make this audience laugh, notice small details, observe shape and color, while also not detracting from the overall message.

Learning to take all the seriousness and cynicism of life with a balance of whimsy is a lesson I’m trying to learn as well.

Color seems to be as important as the theme of your pieces. Do you approach color intuitively or is there a deliberate color palette behind it?

I think it’s a mixture of both. The colors that I choose are intuitive and influenced by the burst of colors I grew up seeing in India, but I am still carefully choosing them for each project, depending on context and mood.

How does illustrating for children’s books differ from creating standalone artworks and murals?

The biggest difference is the scale at which the artwork is viewed. When you’re a child reading a book, you can look very closely at the details, re-read something multiple times, and notice new things each time.

When you’re looking at a mural, quite often it’s fleeting — you’re a passerby. This is a difference I considered when picking what to do for my HKWALLS project.

Do you think your experience in illustrating children’s books shape the way you approach public art or murals?

Absolutely. Muralists often tell stories with their murals, and creating children’s books is a great practice for storytelling visually.

What do you love most about working in a digital medium?

I personally love that it mirrors the joy of creating traditional artwork while being forgiving and allowing do-overs, and the diversity of choices I can make with colors and textures.

In an era where art travels quickly online, how do you think digital platforms have changed the way illustrators connect with audiences?

A lot of illustrators, including myself, use social media as a marketing tool. I think it’s been hugely beneficial in getting my work seen by different audiences around the world and in terms of overall outreach.

Your work encompasses murals, books, and digital art. Do these mediums feel like separate worlds to you, or just different chapters in the same story?

They definitely feel like chapters in the same story. I think I just need to wear a different hat for each medium, but I am the same human creating the artwork, so my hope is for that to come across, irrespective of the medium.

When people encounter your work in any kind of medium, what do you hope for them to take away?

My hope in this AI-dominated world in 2026 is for people to appreciate that the artwork is made by a flawed human being, as opposed to a perfect machine. A festival like HKWALLS is a celebration of humans creating artwork, and I feel a renewed hope in human beings when I see other artists and muralists creating lovely human-made work.

What kinds of stories are you most excited to explore in your future works?

I illustrate a lot of books written by other authors, but I’d like to write my own book some time and illustrate it. That’s something I need to work on!

What’s next for Chaaya Prabhat? Any works you’re excited to tease for your fans after HKWALLS?

I’m working on numerous picture books and exciting projects in 2026 that will come out later in the year!

Learn more about Chaaya Prabhat and her works by visiting her website and following her on Instagram.

Enjoyed this article? Check out our previous Artist Spotlight profiles here.