christopher herwig frames the art of south asia's trucks and tuk tuks

christopher herwig frames south asia’s decorated vehicles

After capturing Soviet bus stops and metro stations (find designboom’s previous coverage here), Christopher Herwig now shifts his attention to the roads of South Asia. His forthcoming book Trucks and Tuks, published by FUEL, documents the vibrant artwork found on ordinary vehicles. Over four years and 10,000 kilometers, Herwig recorded a colorful tradition in which trucks and tuk tuks carry the dreams, identities, and aspirations of their drivers.

all images by Christopher Herwig | Lahore, Pakistan

Trucks and Tuks captures a fading tradition of roadside artistry

The decorated vehicles of the Indian subcontinent are saturated with imagery of white stallions galloping beneath waterfalls, Bollywood stars bursting into song, sunset lovers silhouetted against the sea, or divine figures sharing space with cartoon villains. Every surface is covered, from bumpers to windshields, revealing an improvisational artistry that is at once deeply personal and immediately public. A driver’s faith, political ideals, or sense of humor find expression in bright paint, bold typography, and an ever-changing mix of motifs.

Regional differences emerge across the lens of Canadian photographer Christopher Herwig. In Pakistan, for example, trucks are often crowned with a distinctive curved wooden peak, likened to a princess’ tiara, while in Sri Lanka, tuk tuks carry images ranging from sacred deities to Batman’s Joker. Typography across vehicles might command fellow drivers to ‘blow horn’ or carry social messages like promoting girls’ education. This breadth of subject matter points to the role of the vehicles as both cultural signboards and intimate diaries, reflecting the personality of those who drive them.

Yet the Trucks and Tuks book arrives at a moment of fragility. Government directives and the spread of cheap, mass-produced decorations are threatening the continuity of this vernacular art form. Herwig’s photographs, framed by an introduction from writer Riya Raagini and an afterword by the photographer himself, form an urgent record of a tradition that is fading from the roads of South Asia.

Lahore, Pakistan