Ghosh's work is heavily influenced by contemporary social realities and street life. In particular, his work appropriates the distinctly Indian art form of hand-painted billboard hoardings, which until the advent of cheap commercial printing were widely used throughout India in advertising and political campaigns. Ghosh subverts this familiar format by depicting not the Politicians, Bollywood stars, or Western consumer brands which are normally shown, but rather depicting portraits of the poor and ordinary people from the streets. By doing so he aims to force the viewer to acknowledge the very people whom they routinely ignored in everyday life. Ghosh is fascinated by the huge scale of these billboards and how they seem to visually transform those depicted into something larger than life, into almost God-like beings - the use of scale metaphorically mirroring and enforcing existing social and class divides.
In this context, when the artist chooses to substitute portraits of the poor for the rich and powerful, he is deliberately choosing to show them elevated to a similar status. A controversial stance in India is still beset by massive social inequality.
