Painting Hope on War-Scarred Walls: The Story of Shamsia Hassani

On a quiet Kabul morning, a burst of color caught my eye on a bullet-scarred wall. A woman in a flowing blue dress, eyes serenely closed, pressed on the keys of a painted piano as dark figures loomed in the background. In that moment, the crumbling cityscape felt alive with defiance and hope. This was my introduction to the work of Shamsia Hassani, an emerging graffiti artist who has transformed Afghanistan’s walls into bold statements. Her journey from war-torn streets to international galleries is a story of resilience, creativity, and rebellion.

A Rebel with a Spray Can: Background and Beginnings

Shamsia Hassani is often cited as Afghanistan’s first female graffiti artist, a trailblazer who quite literally made her mark in a male-dominated space. Born in 1988 to Afghan refugee parents in Iran, she returned to Kabul as a young woman in 2005, determined to help rebuild her country’s spirit. With a degree in visual arts from Kabul University, Hassani even became a fine arts lecturer there, but it was outside the classroom that her voice truly found its medium. In 2010, she joined a graffiti workshop and discovered the power of spray paint to reclaim public space. Bombed-out buildings and bullet-pocked walls became her canvas – visible to everyone, not tucked away in a gallery.

From the start, the streets of Kabul were her gallery and her message board. Painting in public wasn’t just artistic expression for Hassani; it was an act of courage. She knew the risks – harassment by authorities or worse – yet she persisted. “Art for her has always been a tool of resistance,” one profile observes, describing how covering up physical reminders of war with art allowed Hassani to protest ongoing atrocities. In these early years, she developed a signature motif that would come to define her work: the silhouette of a fearless Afghan woman, often depicted larger-than-life and unburdened by the confines traditionally imposed on her. By 2011, Hassani’s blue burqa-clad female character began roaming Kabul’s walls – a proud figure who “moves freely around the city… singing a song of resistance from the very spaces where her entry is restricted”. This was street art as social commentary, born in a place where simply being a woman in public can be a political act.

Graffiti as a Voice for the Voiceless: Style and Street Culture Connection

“Nightmare” (2021) by Shamsia Hassani – a mural depicting a woman in blue holding a musical instrument, her eyes closed, while faceless dark figures with guns encroach from the shadows. The piece, painted just before Kabul’s fall, encapsulates the fears and resilience of Afghan women under threat.

Hassani’s artistic style is deeply personal and steeped in Afghan culture, yet it connects with the global language of graffiti. Rather than the wild-style lettering or cartoon icons often seen in Western street art, she paints haunting figurative scenes. Almost always, a lone woman stands at the center of her murals. She is depicted with eyes closed and no mouth – a symbolic nod to how women’s voices have been muted – but her posture is strong and unbowed. This recurring protagonist, usually draped in a blue burqa or traditional dress, “gives Afghan women a different face – a face with power, ambitions, and willingness to achieve goals”. In Hassani’s hands, the female form becomes a “powerful agent,” contradicting stereotypes of Afghan women as voiceless or oppressed.

The imagery in her murals often blends beauty with anguish: musical instruments (symbols of self-expression) appear in the women’s arms even as dark silhouettes of armed men lurk nearby. The walls of Kabul, scarred by decades of conflict, serve as both her inspiration and her medium. “Where the violence of war had scarred Kabul’s buildings, those same abandoned, bombed-out skeletons became a canvas for Hassani to erase memories of war and spray paint dream-like, imaginary worlds,” writes one art magazine. In these dream-like scenes, cityscapes and bullet holes sometimes merge into surreal backgrounds, but hope is a persistent theme – often represented by small yet significant details like floating dandelion seeds or musical notes escaping into the air.

From a street culture perspective, Hassani’s work is pure graffiti ethos: it’s unsanctioned, public, and gives voice to the voiceless. “Graffiti is the voice for people with no voices,” as one activist put it, and Hassani embodies that idea. By painting women on public walls, she quite literally puts Afghan women back in the public eye – a sharp contrast to the Taliban’s attempt to erase them. In a 2013 interview, Hassani explained that historically “women were removed from society… Now, I want to use my paintings to remind people about women”. She began portraying women as energetic, larger-than-life figures – “not the woman who stays at home… It’s a new woman, full of energy, who wants to start again”. This rebellious optimism in her style connects to street art’s global underpinnings: much like hip-hop graffiti in 1970s New York or protest murals in Latin America, Hassani’s art challenges authority and uplifts marginalized voices. It’s street culture with a distinctly Afghan accent, mixing the local (burqas, Dari words, Kabul skylines) with the universal language of resistance.

From Kabul’s Alleys to Global Galleries: Public Works and Growing Influence

Hassani’s rise from local graffiti writer to internationally acclaimed artist has been swift, driven by the power of her imagery in a turbulent time. Some of her most impactful works emerged during critical moments of Afghan history. In August 2021, as the Taliban swept back into power, Hassani created a painting titled “Nightmare” and shared it on social media. The artwork shows a woman in blue clutching a musical instrument (a guitar or sarod) to her chest while ominous Taliban fighters blend into the dark background. The woman’s eyes are closed and her mouth is drawn shut – yet her instrument signifies that her voice endures through art. This piece struck a nerve globally. Within days, “Nightmare” was being reposted around the world as people discussed the uncertain fate of Afghan women under Taliban rule. It became, in effect, a viral street-art manifesto. “This powerful image… was very soon posted and reposted on various platforms,” one commentator noted, calling it a testament to Afghan women’s resilience and to “Hassani’s ability to continue to envision hope… even when her mouth is closed.”

Even before that, international art circles had taken notice of Hassani’s talent and courage. In 2014, she earned a spot on Foreign Policy’s “Top 100 Global Thinkers” list, and her story was featured in Goodnight Stories for Rebel Girls, a bestselling book celebrating influential women. She participated in mural festivals and projects beyond Afghanistan’s borders as well. In 2019, for example, she painted a towering mural of a woman musician on a building in Eugene, Oregon, as part of a street art initiative – a woman in vibrant colors bringing life to a grey office block. She has also been invited to create murals in Europe and the US, spreading her message to places far from Kabul. Each project has further amplified her growing influence as an artist who bridges cultures.

Notably, since fleeing Afghanistan for safety, Hassani has begun to exhibit her work in galleries and museums worldwide. By late 2021 she was living in exile (eventually in Los Angeles), even as the Taliban painted over many of her Kabul murals. Rather than silencing her, this displacement only changed her platform. She continued to paint canvases and share digital artworks online, ensuring “her voice, and that of Afghani women, will continue to be heard,” as one report put it. In May 2025, Hassani held her first solo exhibition in London, aptly titled “The Dreamer.” Hosted by the Dorothy Circus Gallery, the show introduced her politically charged, deeply personal work to UK audiences. Her bold murals – celebrated for vibrant colors and emotional depth – were displayed not on concrete ruins but on gallery walls, yet they retained their power. Critics noted that her art “sparks conversation, offering a lens into the complexities of Afghan identity, struggle and hope”. Similarly, a 2023 exhibition at the Royal Ontario Museum in Toronto featured a large Hassani canvas “Once Upon a Time” as its centerpiece, symbolizing women’s experience of war and displacement. Curators deliberately placed it as the first piece viewers saw, calling it “imposing in size, contemplative in composition,” and a beacon asserting that “women are formidable agents of change with powerful messages to express.”

Through these public works and exhibitions, Hassani has solidified her status as a rising star in the art world (2022–2025). She stands out not only because of what she paints – courageous Afghan women – but where and how she began painting. In the insular graffiti subculture (historically dominated by men tagging their names), her presence is a breath of fresh air and a jolt of conscience. Fellow artists and galleries admire her for injecting true social commentary back into street art. And for young women around the world, seeing Hassani’s murals is profoundly inspiring: here is an artist who literally risked her life to paint women’s stories on walls, and who is now being heard on the global stage.

Balancing Grit and Visibility: Critical Observations and Cultural Impact

Hassani’s journey has not been without challenges, sparking reflection on the role of graffiti in society. In interviews after 2021, she has spoken candidly about the power – and limits – of art in the face of violence. “I used to believe that art is stronger than war, but now I realize that war is stronger,” she admitted in one heartbreaking reflection, watching years of her work erased almost overnight. Indeed, as the Taliban rolled over Kabul, they systematically whitewashed murals (hers and others’) that had celebrated women’s rights and social progress. It was a brutal reminder that street art is often ephemeral. Yet, Hassani did not let this realization defeat her; instead, she pivoted to new ways of preserving her message. She began producing art on canvas and sharing it globally, effectively outmaneuvering censorship. In one poignant quote, she likened leaving Kabul to a kind of death – “After I left Kabul, I felt like I died… I feel like I have died, and I’m searching for my old life,” she said from exile. Such raw honesty adds a critical, somber note to the admiration she’s earned. It underscores that her beautiful murals are born from pain and loss as much as hope. As viewers and followers of her work, we are reminded not to romanticize the struggle that informs it.

Within the graffiti community, there have also been debates about Hassani’s style and approach – a sign of her growing visibility. Some graffiti purists might note that she doesn’t do traditional letter-based “wildstyle” or bomb trains; her work blurs the line between “street art” and “graffiti.” In fact, online discussions sometimes turn heated on this distinction, with old-school writers insisting that without the illegal tagging element, it’s “not graffiti, it’s street art,” while others retort that any unauthorized art on a wall counts as graffiti. Hassani’s response to such debates has essentially been through her actions: she started on illegal street walls in Kabul (so by the strict definition, yes, it was graffiti) and has since expanded into murals done with permission, prints, and gallery pieces. This mirrors the trajectory of many famous street artists (from Basquiat to Banksy), and it raises the question: can an artist retain an edgy, authentic voice even as they enter the mainstream art world? In Hassani’s case, her work’s core message remains uncompromised. Whether sprayed on a crumbling Afghan ruin or hung in a chic New York gallery, her art confronts viewers with the plight and pride of Afghan women. If anything, the context shift invites a broader audience into that conversation. Still, the critical observer might keep an eye on how her style evolves with this new visibility – will it lose any of its rawness now that it’s also being sold and celebrated in elite circles? So far, Hassani seems keenly aware of this balance, often reiterating that her mission is to “help myself stay afloat and not sink in this darkness” by painting, rather than to chase fame or fortune. The edgy, activist spirit of her work endures, even as her platform grows.

Beyond the art world, Hassani’s influence is rippling into global pop culture and fashion in subtle ways. In the realm of streetwear – which has always been intertwined with graffiti and street art – there is a growing appreciation for artists like her who bring authenticity and meaning. From Tokyo to New York, streetwear brands frequently collaborate with graffiti artists to infuse their clothing with urban credibility. (For instance, a Japanese clothing label recently launched a capsule collection with notorious graffiti writer Neck Face, blending his gritty art with high-end apparel.) We’ve seen legendary street artists like KAWS partner with global brands – even the Japanese retail giant Uniqlo appointed KAWS as its first-ever “Artist in Residence” for a clothing line. These examples highlight a trend: street art and style are colliding, and messages that start on city walls often find their way onto T-shirts, sneakers, and runways. While Shamsia Hassani hasn’t (yet) done an official streetwear collaboration, one can easily imagine her striking imagery – the silhouette of a woman with a piano, or a burst of dandelion wishes – printed on a hoodie or a skate deck, worn by youth from Los Angeles to Harajuku. The appeal is clear: her art carries a story and a stance. In an era when fashion is eager to embrace social causes and storytelling, Hassani’s work resonates beyond galleries. It embodies the authentic voice of street culture – the same voice that global brands hope to channel to stay relevant. The key, of course, is that Hassani’s art wasn’t created for commercialism; it sprang from the streets and remains rooted in real struggles. That genuine edge is precisely why it stands out, and why any cultural crossover (be it streetwear, music videos, or film) would need to handle her work with respect.

Why Shamsia Hassani Stands Out in the Graffiti World

In a graffiti landscape often dominated by familiar names and styles, Shamsia Hassani has carved out her own space with refreshing boldness. Her background sets her apart: there are very few internationally recognized graffiti artists who are young Afghan women – in fact, she was the first, and she forged that path almost entirely on her own. The location of her artistic origin, Kabul, is as unconventional as it gets for graffiti fame; it’s a place where painting on a wall carries far greater risk than in the alleyways of New York or London. This imbues her work with an authenticity and urgency that even the edgiest street artists elsewhere might envy. When Hassani paints, it’s not for trendy points or gallery invites – it’s literally to reclaim space for those who’ve been forced into silence.

Her artistic style also makes her stand out. Hassani’s murals are instantly recognizable: the elegant, closed-eyed women in vibrant garments, often interacting with symbols of art (instruments, paint) amidst shadowy threats or abstract cityscapes. It’s a style that mixes softness with strength. In a field where many artists rely on aggressive lettering or pop-culture mashups to catch attention, Hassani draws viewers in with narrative and emotion. As one journalist noted, her murals offer “a powerful narrative of Afghan women’s resilience, challenging cultural stereotypes and illuminating the human cost of war”. She demonstrates that graffiti can be not just visually striking, but deeply poetic.

Moreover, Hassani stands out for her growing influence and crossover appeal. In just a few years (2022–2025), she has transcended from local anonymity to global recognition. She’s been profiled by international media, courted by galleries, and celebrated on social networks, all while maintaining an underground edge. Her art resonates in fine art museums and on Instagram feeds alike – a crossover that many street artists strive for, but few achieve without losing credibility. Hassani managed it by staying true to her roots: even in a posh London exhibit, her centerpiece works still “offer a lens into Afghan identity, struggle and hope,” as critics observed. That genuine voice is why the art community and graffiti aficionados both admire her.

Finally, what truly makes Shamsia Hassani stand out is the personal and political weight behind her creations. Every spray stroke carries a piece of her story – a woman who refused to be silenced. When we look at her murals, we’re not just seeing cool art; we’re witnessing an ongoing act of bravery and advocacy. In the graffiti world, that blend of skill and substance is rare. Hassani’s work commands admiration for its beauty and execution, and invites critical thought about the world that inspired it. She herself balances this admiration with a critical eye. She knows art alone can’t change a regime or end a war – but it can change mindsets, spark dialogue, and keep hope alive. In one mural from 2023, she painted a woman gazing into a gaping hole in a concrete wall; inside that hole was a piece of an old Kabul newspaper filled with dandelions – wishes waiting to be set free. The woman yearns toward her past, and the dandelions symbolize dreams and hopes that persist even when the future is uncertain. This poignant imagery encapsulates what Hassani brings to the graffiti world: a fusion of grit and grace, reality and dream, protest and poetry.

In conclusion, Shamsia Hassani’s story is both personal and emblematic of graffiti’s power. She began with a spray can in the rubble of Kabul, painting messages that many in her society needed to hear. Now her art reverberates globally, proving that a voice born on the streets can indeed echo in the halls of galleries and in the fabric of street culture. Her rise between 2022 and 2025 signals a new chapter in graffiti – one where the voices of women, of war survivors, of the “unheard” take center stage. With her combination of fearless artistry and compassionate critique, Hassani brings a bit of edge and a lot of heart to the contemporary graffiti scene. And as street art continues to influence everything from gallery shows to Japanese streetwear, artists like her ensure that the soul of graffiti – its authenticity and audacity – stays alive and well, inspiring the world one wall at a time.

Sources:

• Hassani’s background and first solo London exhibition

• Description of her Kabul murals and signature style

• Hassani’s own words on depicting strong women

• “Nightmare” mural context and impact in 2021

• Quote on art as resistance and public voice

• Royal Ontario Museum commentary on her work’s themes

• Hassani on art vs war and the destruction of her murals

• Example of graffiti-streetwear collaboration (Neck Face capsule)highsnobiety.com

• KAWS x Uniqlo indicating street art’s influence on fashion