British-born Nina Bhadreshwar received her 'art education' from her mother and hundreds of interviews with graffiti artists from the 1970s-80s as she trawled Europe and the USA in the 1990s following her love of graffiti. As she curated her findings in her international arts magazine, The Real State, she became fascinated by graffiti's connection with immediate society and context and its ability to declare prophetic and abstract messages. At the same time, she was becoming bored with its obsession with branding, ego and fame so began her own form of graffiti in 1996, using narrative imagery instead of letters.

Nina's main themes are decay and transformation, time and eternity. She uses characters and objects from the everyday as well as wildlife, trees, nature and allusions to ancient writings and spoken tales, weaving them together into surreal fairy tales. Her canvases are 'as large as possible, as common as possible' - either building walls or canvases for commissions.

'My aim is to connect to the inner conscience, the child in all of us and to awaken an awareness of responsibility and belonging. I want people to see there is a consequence for every action, however small, be it bad or good.'

She uses juxtaposing iconography and locations, images from around the world and history. 'The incongruity allows people to question the values and meaning they give to objects and places.
'I call my art 'Real State heArt' because I hope it enables the viewer to find the real state of their heart.'