First of all, we asked Hari to tell us more about himself, to which he wrote: “I’ve worked across different creative fields, from screen printing anarchist T-shirts to making artwork for museums, textile factories, and music projects. But at the core, everything I do is about storytelling - whether it’s through art, music, or writing.
Punk’s always been a big influence - not just the music, but the DIY ethos, the raw energy, the refusal to conform. I also do singing, producing, and creating visuals for my band projects such as Black Light Mutants (anarcho-punk/industrial) and Romance of Broken Minds (cold wave/industrial/goth). For me, the medium isn’t important - it’s the message and the atmosphere that matter most.”
The artist shared that he has been making art for as long as he can remember, both on paper and digitally. Hari wrote: “In the early ’90s, I got a Commodore Amiga 600 for Christmas, along with Deluxe Paint III, and I probably spent more time drawing on that than playing games!”
He continued by telling us more about how his high school art teacher Mr. Palmer at West Hill Boys introduced him to expressionism and dada. “That completely changed how I saw painting - not just as technique, but as emotion, rebellion, and storytelling. I started working with huge wooden boards, oil paint, garden sacking, cardboard - anything I could stick onto a surface and paint on. That textured, layered, raw approach still influences my work today.”
As for the theme behind Hari’s artwork, he commented: “My work blurs the line between industrial decay, folklore, and working-class history, creating eerie, atmospheric scenes that feel both familiar and unsettling.
I’m currently working on Harrowden, a fictional town inspired by the old mill towns east of Manchester. It exists outside of time, where soot-covered mills, rusting factories, and backstreets sit alongside modern-day CCTV cameras, washing machines, and tower blocks - a town that doesn’t belong to the past or the present.”
“But there’s something off - there is an eerie red pull to the town, black cats with glowing eyes lurk in the alleys, and there’s a sense that the town itself is alive, watching. Visually, I work with bold reds and blacks, creating a mood that’s both intriguing and unsettling, pulling people in while hinting at something lurking beneath the surface.”
We asked Hari to share more about his creative process. He wrote: “My creative process is a mix of research, imagination, and experimentation. I start by taking photos, studying old maps, and digging into local folklore - building a sense of place. I sketch ideas, draw maps, and make written notes, because once a place has a name, it starts to feel real.
I work mostly digitally these days, combining photo composites, rough collages, and overpainting to construct a scene. I use matte painting techniques to build texture and atmosphere, adding grain, rough edges, and subtle distortions to make it feel like a fragment of a larger world. The final step is always about mood - balancing light, shadow, and color to create that eerie, unsettling feeling.”
Every artist has somewhat of an idea of what they would like for the audiences to take away. Hari shared his hopes: “I want people to feel like they’ve stepped into a world that exists just outside of reality - a place that feels familiar but slightly wrong, like they’ve been there before but can’t remember when.
I love the idea of sparking curiosity and storytelling - making people wonder who lives in these places, what’s behind those dimly lit windows, and what’s lurking just out of sight. My work isn’t about giving clear answers; it’s about suggesting possibilities and leaving gaps for people to fill in with their own imagination.
I also hope it resonates with those who feel a connection to working-class history, industrial landscapes, and forgotten places - reminding people that there’s beauty in decay, in the remnants of industry, and in the things most people overlook.”
Lastly, Hari added: “Right now, I’m focused on expanding The Harrowden Project, bringing more depth to the town - more locations, more strange histories, more glimpses into its eerie folklore. I’m also developing Mamucium City, a cyberpunk project, where corporate surveillance clashes with an underground resistance. I also have another ongoing project, Pubs Of England, a series of paintings based on my time drinking in Northern England’s pubs. Alongside that, I’m continuing my punk, anarchist, and political artwork, making prints, clothing, and stickers that focus on resistance, class struggle, and direct action - many of which support grassroots causes.
Thanks for reading! If you love eerie industrial landscapes, folklore, and forgotten places, you’re always welcome to step into my world. You can find more of my work on my website and socials - come have a look!”
