Intoart was born in Peckham in 2000, when Ella Ritchie and Sam Jones set out to build a studio where learning disabled and autistic people could move beyond the margins; no longer “participants,” but artists in their own right. Two and a half decades later, the studio is a firm fixture of South London’s creative landscape, with a collection of more than 5,700 works, shows at the V&A and Malmö Konsthall, and artists whose practices stretch across drawing, textiles, sculpture, sound, fashion and performance.

That drive to push things forward, what the artists call “taking it to the next level”, is everywhere in the Intoart studio. Clifton Wright, whose large-scale pastel drawings now hang in Dulwich Picture Gallery, talks about confidence as much as skill: “Back then I didn’t have no confidence or anything… Like the billboards, it’s another challenge into the unknown. But it’s about seeing what comes of it, not just for me, but for all my fellow Intoart artists.”

For Andre Williams, that question of connection continues to run through his practice. If Let It Be Me reached out with an open hand, the billboards extend that invitation across the city, meeting people where they are. For Ntiense Eno-Amooquaye, whose sculptural garments have been worn, filmed and exhibited internationally, it’s about the balance of collaboration and independence: “Working really hard, with different teams, on commissions, on ideas. And also working independently.” For Christian Ovonlen, it’s about joy, “dancing to my mixtapes” in the gallery space.

Rooted in South London, Intoart’s story has always been shaped by its surroundings. Many of the artists live close to where the billboards now stand, and that proximity matters. Their work isn’t hidden in galleries but placed in the everyday routes of friends, neighbours and strangers, a visible reminder that creativity belongs to the community as much as the institution.

As Intoart reflects on a quarter century of shifting perceptions and building new possibilities, the question becomes what comes next. At the heart of the studio’s work is its programme of long-term support, collaboration and visibility for artists, something that Co-founder and Programme Director Sam Jones has been central to shaping. In conversation with Sam, Ella and the artists, we hear about Intoart’s beginnings, its ethos, and how the 25th anniversary campaign continues the collective’s mission to make art visible in public and on its own terms.

Nancy Clayton: I think for me, it’s about having the skills to nurture and flourish with materials that you hadn’t had before. And always debate. It’s just art education, that you haven’t had before. Intoart to me is to nurture and flourish and make it grow.

Ntiense Eno-Amooquaye: It has been working really hard and working with different teams. With the Intoart board on the point of the planning for the second future, on collaborations, with commissions going ahead to work with shared ideas and working independently.

Clifton Wright: From where I first started to like now, back then I didn’t have no confidence or anything and not much of a skill set and like to elevate things in a way. And just to develop, to develop things that I never thought I would do. Like this for example, like the billboards for example, that is, for me it’s pretty new, like it’s another challenge into the unknown. But I’ll see how it pans out and see what comes of it, not just for me, but for all my fellow Intoart artists. I hope for starters that people like billboards and, I’m gonna use Nancy’s words here a little bit, that they take it to the next level.

Nancy Clayton: I hope people think, wow, that’s amazing, like “Who are these people? Who are these artists?” Making new art like taking it to the next level. In some galleries it’s always the same artist but we are trying to break down the barriers maybe.

Nick Fenn: I guess at the start, at the initial start of coming here, I knew I loved drawing different things but I didn’t really have like a project that I could base my drawings or my paintings or like different mark making on. I didn’t know what I liked and I was curious about what I wanted to like. I have this mindset now where I’m like oh what could the next project be, how does it look, how would it look with using that medium like for instance if I did a lino cut, or if I did a drawing, an oil painting or something. In the past I would think about what picture would be good but they didn’t really have much meaning, it was more about the picture. But now, like, it’s more about the meaning as well and developing that more.

I feel when an artist makes a piece, they want people to ask questions, so the way they do that is they will make a piece and it’ll be about the content and the context and where is it going to be, what’s the agenda where’s it going to sit and what are people going to ask. What are people’s interpretation going to be of that piece because people view things differently and it’s funny because one of my projects was called Views. What do people think when they see a piece, the artist made that piece for people to ask questions and figure out. What I’m doing is I’m figuring out projects more and I’m figuring out where I’m going to go, and what the ending point is going to be.

Sam Jones: Do you think when people see the billboards they might question the ways they may have maybe made assumptions?

Nick Fenn: They’ll probably think about things that they’ve made assumptions about when they see the work and when they read the words as well. They might start thinking about it more and start paying attention.

Nancy Clayton: Some artists use poetry, it’s like freedom of speech, to make the world a better place and what they want the public to see.

Sam Jones: What do you think the public need to see to make the world a better place?

Nancy Clayton: Ambition, worth, powerful worth. The artist and the imagination.

Nick Fenn: I think what’s also interesting is the billboards are in different places and every billboard shows a different artist, it’s going to show the artist’s personality, they will kind of shine through. Whether it’s me or Clifton or Ntiense or Christian or anyone and so they’re seeing our art there on the billboards. It’s about artists first.

Nancy Clayton: I feel the value of confidence, because you know that you’re not outcast. Yeah, I feel confidence.

Ella Ritchie: What do we think about being in Peckham? Andre have you lived in Brixton all your life?

Andre Williams: Yes

Ella Ritchie: And what about you, Christian?

Christian Ovonlen: Camberwell

Andre Williams: Phew, ha ha ha!

Ella Ritchie: Yeah you have all lived in South London all your life, so what does it mean to you to make work in the place you grew up, with people that are based in South London and for that work to be shown on the streets that you walk down day to day?

Nick Fenn: I’m nervous but I’m excited as well, because people are going to truly see what I do. People I know around my area I’m curious, what will they like. Its great to be seen being local is important to people.

Ntiense Eno Amooquaye: I think it’s quite different (our studio space at Peckham Levels). This space is kind of new and about what’s coming, we are opening shows and events. It’s like a different group of cultures when you have exhibitions, launch books, make billboards.

Nick Fenn: It kind of relates, in the world there’s different faces different cultures different groups of people different towns and cities and people would be coming over because in October there’s going to be loads of different exhibitions on in London, people will be coming over and seeing the artwork and they will see the billboards as well because the billboards are placed in South London, East London and Central London. Those are very busy places and you know people will start to recognise.

Sam Jones: At the moment you have all got shows at big museums, Malmö Konsthall, you’ve got shows at Dulwich Picture Gallery, at Pallant House gallery and at the V&A. Then all these 16 billboards, with the Copeland Gallery and Flat Time House exhibition opening in October.

How do you find that, to work at that level?

Nancy Clayton: I feel like, ‘you’ve done it!’ We are having conversations with curators and different important people at different levels, yeah.

Nick Fenn: It’s knowing that when you meet new people and you make a connection, like how we’re working with BUILDHOLLYWOOD it’s a really beautiful thing because you know who we are. Two companies, both making something from the connection. BUILDHOLLYWOOD are talking to us now and getting to know us as well. Listening to us now, and that’s why we’re talking now.

Sam Jones: Should we say something about Andre Williams and how this all started. The amazing, Let It Be Me public sculpture commissioned by BUILDHOLLYWOOD by Andre Williams.

Andre Williams: Let it be me. That’s me!

Sam Jones: So we all went along, didn’t we, Andre, when it opened and you cut the ribbon, do you remember?

Andre Williams: You see some scissors.

Ella Ritchie: But you cut it very quickly before the photographer could get a shot.

Nick Fenn: A special moment. One that the photographers were too slow to catch you’ve gotta be quicker than that.

Sam Jones: So that was the start of the story, wasn’t it, with BUILDHOLLYWOOD?

Ntiense Eno-Amooquaye: Now doing billboards it’s like a leading method it’s like taking different turns. Sharing what’s coming up in the next programme and also writing down what you’ve thought of, and what you’re waiting for, for what’s coming next. It’s like a big journey going through.

Nick Fenn: When I started working on the flat time house show it was like, how’s it going to work? But then like, I guess what I want people to get out of it, it’s like seeing all that development and the progression, and with the other artists that are in the show too to show in like Andre, Ntiense, Nancy and Christian.

Sam Jones: So, Christian, is there something you’re really looking forward to at Intoart that’s coming up?

Christian Ovonlen: Dancing to my mixtapes at Flat Time House, UK Funky House and Tribal, Merz 86. Sounds good. I enjoy pressing play on the tape player.

Ella Ritchie: For Intoart, it’s always about what are they going to do next? We go on the catwalk, we publish books, make films. And now we are taking it to the streets.