Pragya Kumar is a self-taught South Asian visual artist and community arts producer based in London. Originally trained in interior design, she transitioned over a decade ago to focus on her true passion: community and participatory arts. Her journey began 14 years ago as a volunteer with grassroots organisations and arts charities. Since then, she has delivered projects in collaboration with freelancers, cultural institutions, and funders like Arts Council England and local councils.
Speaking to Asian Voice about her career shift, Pragya said, “What drew me in was the beauty of community arts, the engagement, the fact that it’s by the people, for the people. Participatory arts give even those who doubt themselves the chance to get involved and feel empowered. I was already working in commercial interior design, but when I moved here and saw what community arts could do, I was blown away. It felt like the most meaningful way to make a difference and I’ve never looked back.”
On what sustainability in art means to her, Pragya said, “As a participatory artist, I’ve led many community projects, but I began to question their long-term impact. We secure funding, deliver something meaningful, then we leave. What happens to the people we engaged with? Often, they’re left with no resources to continue. It’s not just about the sustainability of the project itself, but also of the materials we use. During a funded project, we might provide beautiful art supplies for free, but once the funding ends, those materials may be unaffordable or inaccessible. This made me look back to our creative roots, to traditional practices that used natural, sustainable, and easily available materials. Much of that art has lasted centuries. So I’ve been exploring ways to bring those practices into modern participatory art, so communities can continue the work long after we’ve gone. That’s when real, lasting impact happens.”
Giving an example of how her artistic practice addresses environmental concerns, Pragya said, “There’s been a big shift in the kind of materials we use in participatory arts. Many organisations I work with have now stopped using plastic, but we’re still grappling with leftover stock from past projects, things like plastic cut-outs and polystyrene, which are harmful to the environment. Especially in outdoor arts, it’s been a challenge to find sustainable alternatives that are also affordable. For example, in the lantern parades I lead, we now use biodegradable materials like willow and tissue paper. But natural and eco-friendly options can be expensive and hard to source. Even at home, I’ve seen this, a wooden dish brush with natural bristles costs five to ten times more than a plastic one. So while the intention to be eco-conscious is strong, accessibility and cost remain major hurdles. The more widely available these materials become, the more affordable they’ll be, but we’re not there yet.”
On the lack of visibility and funding for South Asian artists working at the intersection of sustainability, identity, and community, Pragya said, “There’s some external support for sustainable practices, but what about grassroots-level action? That’s where the gap lies. As a South Asian community, we have so much wisdom in our heritage, sustainable ways of living that our ancestors practiced for generations. But we’re not tapping into it, nor are we building systems to revive and adapt it. There’s no strong financial or structural support within our community to drive these ideas forward. Creatives have so many solutions, but without backing, even someone simply saying, ‘Tell me your idea, we’ll support you’, nothing can happen. I’ve been in the UK for over 20 years and haven’t come across a South Asian-led group focused on sustainability in action. There are panels and discussions, yes, but where’s the follow-through? We need less talk and more action, we need to come together, commit resources, and make it happen.”
“For example, we have beautiful natural dyes in our culture that have existed for thousands of years. Reviving them isn't just about using sustainable materials, it’s also about passing on a creative legacy to the next generation. It helps them connect to their roots while contributing to a better future. As a community, we hold a wealth of traditional knowledge, from natural dyes to Ayurveda and skincare practices, but we’re not bringing these threads together. If we created platforms for action, not just reflection, we could revive this heritage and make it accessible not only for ourselves but for wider communities. True sustainability comes from collaboration, and that’s what we need more of,” she added.
