Za Works operates at the intersection of art and entrepreneurship. They are built on experimentation, systems, and versatility. Every project they do is distinct because it is shaped by its own concept, not by a signature art style. It also defines them as they adapt across its scale, medium and mood… and that’s exactly where Silver Train came in a project that allowed them to translate mood into material, art and experience.

They reflect the opulence and grandeur that the ancient Indian royals experienced, and that has become their narrative. Through intricate paintings and artistic surfaces, they’ve created an interplay of colour and texture that brings thematic consistency to the entire space.

What inspired you to start Za Works, particularly with such an open-ended artistic philosophy “every style, every art form – we can do it”? 

Za Works really grew out of where I began as an artist. At my core, I’m a visual creator, someone who loves exploring with materials and anything I can imagine. I could always see artworks come alive in my head, but I didn’t yet have the skills, tools, or materials to bring them into the real world. Over the years, I learned those skills. I experimented, failed, tried again, and explored different kinds of projects until I reached a place of ease and freedom in my practice. 

Creation should feel effortless, intuitive, and driven by free will. There’s so much happening in a human mind, and I don’t want any artist to feel confined to a single style or belief that they must “stick to one thing” to be great. You can be many things at once as an artist. You can explore, shift, evolve and still be exceptional. It all depends on who you are and how you choose to carry your ease, curiosity, and freedom forward. 

As a founder in the early days, what were some of the biggest challenges you faced in establishing a design‑studio that does not limit itself to a “signature style”? 

I began as a freelance artist under the banner of Za Works, working solo and taking on one project at a time. And eventually the practice transformed into business, a safe and innovative design-oriented collaborations where artists and designers could come together to create and bring art to life. 

Transitioning from a purely creative mindset to engaging the more logical, business-oriented side of my brain was one of my biggest personal learning curves. I’m inherently a creative person, so tapping into that analytical side was a genuine challenge. 

On the professional front, one of the toughest aspects was educating clients. In India, art is still not widely understood or valued as an asset. While we’re growing and evolving as a country, there’s still a long way to go. The fact that it’s entirely custom-made for clients was another major challenge. Bringing that awareness to life is one of the most demanding yet rewarding things I’ve done at Za Works.

Za Works comprises a diverse team of designers, artists, and creative professionals. How would you describe your leadership approach, and in what ways do you nurture creativity while ensuring consistent quality in client projects? 

I started as a freelance artist before shifting into a more business-driven role that pushed me to collaborate across creative disciplines. The volume of work I’ve handled has been intensely hands-on from client budgeting and material knowledge to painting, design approvals, and on-site execution. Over time, I’ve built a leadership approach rooted in “freedom with responsibility.”

Designers get structured hours but the autonomy to manage their time, which helps them think more openly and create better work. Artists, who naturally thrive on freedom, work best with clear tasks and daily goals. Across managers, artists, and designers, I adapt this balance differently, so each person has the space and the structure they need to create at their fullest potential. 

When it comes to leadership, I take a hands-on approach. I like to stay involved in both the creative and operational sides of the business, contributing wherever I can while remaining open to constant learning. My leadership style is deeply collaborative. I lead, but I’m equally committed to learning from my team. When they make new discoveries, I grow alongside them; when they face challenges, I’m there to support and guide. At Za Works, this culture of shared growth and creativity is what drives us forward. 

Looking ahead, how do you envision the future of Za Works in terms of scale, artistic direction, or market expansion? Are there new realms of art or design you want to explore under the Za Works banner? 

Za Works grows through diverse artistic creations, expanding design, art, and stylistic exploration. Moving forward, I hope to partner with companies across various industries brands with unique products that can benefit from my artistic experience of over a decade. These collaborations would allow me to bring not only my creative vision to life but also everything I’ve learned from clients, the market, and people who understand art and those who don’t. I’m excited to express that side of myself through meaningful partnerships. 

Over the years, Za Works has worked with prominent interior designers, architects, and major brands. Can you talk about a collaboration that particularly shaped or challenged your approach to design? 

I have two experiences that shaped the way I see design – one from a client and the other from an interior designer/architect. 

The first is a restaurateur deeply rooted in hospitality. Her way of thinking opened my own understanding of design. Both my projects, La Loca Maria and La Panthera, were profoundly client-led. Mickee Tuljapurkar brought vivid, Spain-inspired artistic visions and a clear design voice. Translating her imagination into reality showed me that creativity extends beyond ourselves art around us can shape entire design languages or identities. She was a visionary, expressive, and a wonderful collaborator. 

The second experience centres around my collaboration with Sumessh Menon and Nishant, with whom I’ve worked on several projects. Their effortless command of colour, furniture, and the finer nuances of interior design has consistently elevated our work.

What distinguishes them as collaborators is the creative autonomy they extend bringing their expertise with confidence while encouraging exploration, experimentation, and boundary-pushing. That balance of freedom and purpose has been one of the most valuable things they’ve shared with me, and it’s a creative relationship I hold in high regard.

Transparency, curiosity, and “a lot of paint, honesty, and curiosity” are central to your mission. How do these values translate into daily operations, client relations, and long-term projects? 

I try to build that culture with my team. Curiosity is something I naturally have, but I can’t expect everyone to operate at that level all the time. So, I hire very intentionally, I look for curious minds, people who genuinely want to learn. That’s where the mission truly comes alive. My approach to client relationships is simple: be honest. If something isn’t working, say it. If you’ve made a mistake, own it. That level of transparency matters.

I recently finished a project where I promised a design I had only visualized digitally. When I painted it, it turned out terrible. I could have sold it to the client as part of the concept, but I didn’t feel right doing that. I told them openly, “I messed up this artwork, and I need to redo it. It’ll be at my cost, but I need more time.” And sometimes projects don’t have time, but honesty still helps. If anything unsettles people, it’s the truth. Very few people treat honesty with the respect it deserves. But for me, honesty really is the best policy. 

Za Works creates murals, art installations, and large-scale wall art. What is the most technically challenging project you’ve done, and what made it challenging (material, scale, site constraints, concept)? 

I think the most challenging artwork I’ve created so far is La Pantera. It was also the most rewarding, but the challenges behind it were completely unexpected. We began painting on a canvas nearly four months before the installation date, assuming based on our experience that we would simply mount it like wallpaper. That’s where the complications began. There were material challenges, time pressures, technical hurdles, and scale issues all at once.

The artwork was a 25-foot piece, painted on a single, continuous canvas that had to be applied to the wall in one go. But the special adhesive we chose had water in it, which caused the canvas to shrink. Our 25-foot artwork suddenly became 15 feet. That’s when everything unravelled. We had to stretch the shrunken canvas onto the wall and practically repaint the entire piece from scratch, which took an additional two months. In the context of a hospitality project, getting six months for artwork alone is unheard of in Mumbai. 

On top of that, the massive scale made everything more complicated. Being a symmetrical artwork, even the slightest misalignment threw the entire composition off. We pulled all nighters, reworked strategies, adjusted designs, and rebuilt the piece from the ground up. From design to execution to timelines, we had to take control of every detail within those two intense months. In the end, my team really poured their hearts into La Pantera. It challenged us at every stage, but we managed to bring it together and that made the journey worth it. 

How do you handle customization for clients for example, when doing a canvas painting vs a mural and how do you ensure that the final deliverable “clicks with the viewers,” as you’ve mentioned? 

Over the years, I’ve learned to understand different kinds of clients by placing them into categories residential, hospitality, and commercial and adapting my approach accordingly. For hospitality clients, the goal is always to make their customers sit, eat, stay longer.

So, I create art that immerses them, that makes them feel like they’re part of the space itself. That’s what I mean when I say the artwork should ‘click with the viewers. For residential clients, it’s about personal space something they will see every single day. The best results come from following their vision closely and creating art that resonates with their daily life and identity. 

Commercial projects, on the other hand, are about the brand rather than individuals. It’s about expressing the company’s voice what the brand stands for, what the CEO wants to communicate, and how that message should shape the environment for employees. These three umbrellas help me understand what each client truly needs, and I create work that connects with viewers in exactly that way. 

Photography : In courtesy of Za Works