Canadian photographer Christopher Herwig, known for his previous work capturing Soviet bus stops and metro stations, has turned his lens to the colorfully decorated vehicles of South Asia. His upcoming book "Trucks and Tuks," published by FUEL, showcases the remarkable tradition of vehicle artistry that transforms ordinary trucks and tuk-tuks into moving canvases of personal expression.
Over the course of four years and traveling more than 10,000 kilometers across the region, Herwig documented a vibrant cultural practice where drivers use their vehicles to display their dreams, identities, and aspirations. The decorated vehicles of the Indian subcontinent feature an extraordinary array of imagery, from white stallions galloping beneath waterfalls to Bollywood stars bursting into song. These mobile masterpieces also showcase sunset lovers silhouetted against the sea and divine figures sharing space with cartoon villains.
Every surface of these vehicles becomes a canvas for artistic expression, with decorations covering everything from bumpers to windshields. This improvisational artistry serves as both deeply personal statements and immediately public displays. Through bright paint, bold typography, and an ever-changing mix of motifs, drivers express their faith, political ideals, and sense of humor for all to see.
Herwig's photography reveals distinct regional differences across South Asia's decorated vehicle tradition. In Pakistan, trucks are often topped with distinctive curved wooden peaks that resemble princess tiaras, creating an elegant crown-like appearance. Meanwhile, in Sri Lanka, tuk-tuks carry diverse imagery ranging from sacred deities to popular culture icons like Batman's Joker, demonstrating the broad spectrum of influences in this art form.
The typography found on these vehicles serves multiple purposes, from practical commands like instructing fellow drivers to "blow horn" to carrying important social messages such as promoting girls' education. This wide range of subject matter highlights how these vehicles function as both cultural signboards and intimate diaries, reflecting the unique personalities and values of their drivers.
However, Herwig's documentation comes at a critical moment for this traditional art form. Government regulations and the increasing availability of cheap, mass-produced decorations are threatening the continuation of this authentic vernacular art. The spread of standardized ornaments risks replacing the hand-crafted, personalized artwork that has defined this cultural practice for generations.
The "Trucks and Tuks" book features an introduction by writer Riya Raagini and an afterword by Herwig himself, providing context for this disappearing tradition. Together, these elements create an urgent photographic record of a fading cultural practice that is slowly vanishing from the roads of South Asia. Herwig's work serves as both an artistic celebration and a historical preservation of this unique form of mobile folk art that has long been an integral part of the region's visual culture.
