As mentioned earlier, I’m using my blog as a platform to share interesting interviews with people of note. Much like artist Mukesh Sharma, Manveer Singh or Plasticvalla as he is better known, also works with recycled material to create unique works of art. Here is an insightful interview of his:
Noor Anand Chawla (NAC). Why did you enter the field of art?
Plasticvalla (P): I discovered my passion for art during childhood, fuelled by a fascination with visuals, particularly landscapes. In school, as the curriculum changed, new books introduced me to different sceneries and caricatures, which inspired my imagination. My early creativity was shaped by resourcefulness, as I lacked access to toys or money for store-bought items. So, I crafted kites, clay cars and other objects on my own. This hands-on approach evolved from being a passion into a professional pursuit. My innate drive to transform raw ideas led me to formal training in the art field, where I learned to structure my creativity more deeply. Now, represented by Desee Art, I’m dedicated to fostering a synergy between community-centric initiatives and sustainability.
NAC: When did you start working with recycled materials?
P: I began working with plastic materials in early 2018. Previously, I painted landscapes using acrylics and oils on various media. It was during this time that I started creating artworks with plastic.
NAC: Are you specifically attracted only to plastic products or old, discarded products of any nature?
P: I choose multi-layered plastic (MLP) for my art as part of a personal mission to address overlooked waste. While researching plastic pollution, I made a notable observation: ragpickers, who search through dumps for salvageable items, consistently overlooked MLP. This material accumulated in landfills, becoming an emblem of the pollution crisis I wanted to address. This realisation impacted me deeply. Here was a material that no one wanted to touch, yet it contributed significantly to environmental degradation. By selecting MLP, I dedicated himself to transforming these materials into art sculptures, compelling viewers to confront what society often ignores.
NAC: Where do you source your material from?
P: I collect plastic waste through a hands-on, door-to-door approach in my neighbourhood. I’ve established direct connections with over 400 households that contribute various types of waste materials. To streamline this process, I distribute special Habit Changer Boxes to these homes, transforming community participation into segregation at source.
NAC: Where do you generate ideas for your themes?
P: I draw inspiration for my artwork themes directly from the location or context in which each piece will be installed, creating a profound and organic connection. I examine how the art relates to the specific site, considering its folk art traditions, surrounding landscape, nature, architecture or the space itself.
For example, I created Snow Leopard at Spiti Valley, depicted Himalayan griffon vultures and paragliders for Bir Billing, and represented an urban landfill-inspired landscape for Delhi in relation to the Ghazipur dump. Desee Art played a significant role in the installation of this artwork at the Manekshaw Centre, New Delhi, India, titled ‘Futuristic Earth Core’.
NAC: Why do you feel recycling matters in art?
P: For me, recycling in art is a deeply personal journey rooted in my lifelong passion for landscapes. When I first painted them on canvas, it was an emotional outlet – a way to capture the beauty of nature. Over time, that feeling transformed into a powerful devotion, inspiring me to give back to the environment. This dedication sparked a revolution: each artwork became more than mere production or beautification. It ignited self-realisation for thousands, creating profound meaning from a single line drawn with waste.
NAC: What is the reason that art from discarded materials is currently in the spotlight?
P: Recycling isn’t new to the art world – artists have long used discarded materials in their work. But the real debate now centres on the specific material chosen and how it’s handled, as these choices carry big weight. For me, the method matters most: while many artists make one-off pieces with different purposes, my practice is deeply personal, focused on direct community ties.
I source materials door-to-door from households, instead of buying from industries or ragpickers, to educate about segregation at source. This sets my work apart from other practitioners. Research goes into making pieces durable for outdoor display using various kinds of waste materials.
Simply buying scrap from kabadi shops or factories and turning it into art is a mere production. I feel there is no real change there. True impact comes from ground-level engagement with people, aligning with UN Sustainable Development Goals by educating about waste segregation at source, craft skills, and personal involvement.
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This blog post is part of ‘Blogaberry Dazzle’ hosted by Cindy D’Silva and Noor Anand Chawla.
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*This is not a sponsored post.
**Copyright in pictures and content belongs to nooranandchawla.com and cannot be republished or repurposed without express permission of the author. As I am a copyright lawyer by profession, infringement of any kind will invite strict legal action.
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