Santanu Hazarika, the self-taught multidisciplinary visual artist from Assam, India, recently recreated a poster for Devil May Cry – the anime series adapted from the video game of the same name. Created and produced by Adi Shankar, the show is streaming worldwide on Netflix.
Hazarika’s work shone on the national and the global stage in June this year at the inaugural of BudX NBA House in Mumbai, India. The event – a celebration of pop culture at the intersection of basketball, music, streetwear, and visual art – saw a creative experience curated by Hazarika, for America’s NBA (National Basketball Association).
Known for his intricate fusion of anime, mythology, street culture, and music, he has carved his way in contemporary art and shot to popularity with brand collaborations like Adidas, Red Bull, and Reebok. He has won the Red Bull World Doodle Art Championship.
In an interview with AnimationXpress, he talks about his career as a contemporary artist, his art style, collaborations, working with Shankar and more.
Can you tell us about your career as an artist? What drew you to pursue visual art?
What first drew me to visual art were comic books and cartoons—worlds unbound by logic, rich with fantasy and imagination. The idea that I could create such worlds myself was powerful and irresistible.
Growing up in a middle-class family, comics and toys were luxuries. I began selling sketches to friends for pocket money, which I used to buy second-hand comics—not to read, but to study the artwork. That visual language spoke louder than words. I kept drawing through school and college, always seeing it as a hobby. Good at science, I chose engineering, but soon realised it wasn’t for me.
Later, I was diagnosed with dyslexia, ADHD, and depression. It was a dark time, but also a turning point. I began exploring deeper, more expressive sides of art—blending psychology, pop culture, science, and philosophy. My hunger to express myself kept growing. I started experimenting with new mediums: fashion, sneakers, automobiles, textiles, murals. That restless drive to create continues to shape everything I do.
How would you explain your style to someone who isn’t familiar with your art?
My work is nuanced, visceral, detailed, and fluid. It has a nightmarish quality, yet there’s joy in it. I often explore dark themes through playful satire and subliminal messaging, where every element is intentional—nothing is random. Mythology, esoteric studies, and cultural visual languages deeply influence my compositions.
I’m fascinated by how stories unfold across different myths, and I try to bring that narrative depth into my work. At first glance, the detail and composition draw you in, but the more you look, the more layers you discover. That slow unfolding and sense of adventure are central to my art.
Tell us about the collaboration with Adi Shankar on the Devil May Cry custom poster.
It was a childhood dream come true. Devil May Cry was one of my favourite games growing up. Adi Shankar and I had been following each other for a while, with mutual respect for each other’s work. We connected over our shared love for music, art, and animation—it felt organic.
One day, Adi messaged me on Instagram with a playlist curated for Devil May Cry, filled with early 2000s nostalgia—Limp Bizkit, Evanescence, nu-metal vibes we both grew up on. Then he said, “Would you like to do a special edition Adi Shankar x Santanu Hazarika poster?” I was floored.
He shared early character sketches and designs before the show was even out—it was surreal. I dove into the artwork, and the energy just flowed. One-shot magic. And now, the poster’s out in the world.
Were there specific styles or methods that influenced your work on the Devil May Cry poster?
Absolutely. I wanted to pay homage to digital painting rooted in traditional oil and fresco styles, replicating those textures digitally. Visually, I leaned into early 2000s album art—bands like System of a Down and Limp Bizkit were key influences. That era shaped the colour palette, composition, and even the typography.
For the scene, I pictured [Devil May Cry’s lead character] Dante chilling in his office, mid-phone call, surrounded by pizza, the Sword of Sparda, and his guns. Looming above is the antagonist, adding depth to the narrative.
A detail I’m especially proud of is Dante’s flowing red overcoat. It’s a direct nod to [the Image Comics character] Spawn—Todd McFarlane’s work has been a major influence. The way the coat wraps and moves is my tribute to Spawn’s iconic cape. In many ways, the poster is a love letter to everything that shaped me—music, comics, animation, and storytelling—reimagined through my own lens.
You have worked with brands such as Adidas, Red Bull, and Reebok. How do you balance your personal artist identity when working with international names?
Over the past decade, I’ve done 110–115 collaborations, and through that journey, I’ve learned to strike a balance. I work in phases—when I’m immersed in multiple projects, I ride that momentum. Each collaboration becomes a learning experience that naturally influences my personal style, and vice versa.
During quieter periods, I shift focus to my own practice—experimenting, exploring, and pushing boundaries. I approach every artwork with a defined process, which helps me stay grounded and navigate creative blocks. That method becomes my inspiration.
The constant interplay between brand work and personal exploration keeps me evolving while staying true to my identity. Still, burnout is real. I’ve learned the importance of stepping back and taking breaks to recharge before jumping into the next project.
From being a Red Bull World Doodle Art Championship winner to working with the NBA, what have been your key learnings?
The biggest lesson has been the importance of clear communication—about deliverables, expectations, and compensation—especially when juggling multiple projects. Efficiency matters, and it’s crucial to work with people who match your pace and precision. As you scale, micromanagement becomes necessary, so having a reliable team that can handle pressure is key.
Another non-negotiable: contracts. Always put everything in writing. And most importantly, patience—especially with your own process. You can be spontaneous, but when it comes to execution, patience makes all the difference.
How do basketball, music, streetwear, and visual art connect culturally—and how was your experience collaborating with BudX NBA House?
These elements have always been part of the same cultural current. Born from countercultures, they’ve grown together—hip-hop came with breakdancing, street fashion, graffiti, and beats. None of these forms exist in isolation; they’ve always complemented and influenced one another. I see myself as a product of that ecosystem.
My work is rooted in subcultures—rap, heavy metal, underground art, even comic books—which shaped my voice and visual language. I’m not tied to a single format. I’ve created clothes, murals, videos, products—it’s how I process ideas, and maybe it’s also the ADHD at play.
BudX NBA House brought all that energy together. They approached me because I sit at that intersection of counterculture and pop. I led the pre-event campaign, curated the Santanu Hazarika Art All-Stars team, and together we designed custom balls, stencils, stickers, and digital content. On event day, we showcased the balls in an exhibition, and I had the honour of designing the official game ball used to start the matches. That moment—seeing my work at the centre of it all—was surreal.
What’s next for you—any upcoming projects or dream collaborations?
While I’m still figuring out some of it, the next big chapter is with Lotto. I’ll be joining them as a design disruptor, working on brand building, product and sneaker design, and consulting on creative direction. It’s a long-term collaboration focused on developing fresh products and content.
Beyond that, I’m keen to explore filmmaking—designing sets, directing, and diving deeper into visual storytelling. That’s the creative space I’m excited to step into next.
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