Aninda speaks to Blur The Border :

Blur : Your work moves between ceramics and textile art—two distinct yet tactile mediums. What draws you to working across these fields, and do they inform or influence each other in your creative process? 

Aninda : My artistic journey began with traditional mediums like canvas, linen, and paint. Years ago, during a trip to Dubai, I discovered gold zari—bright, shiny, and captivating. I returned home and incorporated it into one of my linen pieces. While the result was beautiful, the thick linen made the stitching process difficult. This sparked my exploration of softer, handwoven fabrics, which led me to India and the vibrant selections at Khadi Gram Udyog Bhavan. From that moment, textile art became a central part of my practice. Before COVID, I sourced materials from Delhi and collaborated with skilled karigars to bring my visions to life. However, the pandemic brought everything to a halt, prompting me to reconnect with another long-held interest: clay. I had dabbled in hand-building ceramics before, but this time I immersed myself fully in the medium. Over two years of dedicated practice, I learned to work intuitively with clay, letting the material guide me. Today, my work seamlessly blends these two tactile worlds. My textile pieces are intentionally exposed to the elements, evolving with the seasons, while my clay forms echo the earthy textures of seeds, pods, and soil. Both mediums, rooted in natural materials, inform and inspire each other in my creative process. 

Blur : Your works in both textile and ceramics embrace abstraction. What inspires this approach, and what emotions or ideas do you hope to evoke in the viewer?

Aninda : My approach to abstraction is deeply rooted in the natural world. I draw inspiration from the earth, my daily walks, travels, and the simple moments of life. The textures of soil, the changing seasons, and organic forms like seeds and pods all influence my work. I love when viewers connect with my pieces in personal ways—when the colors evoke memories of their mother's sarees or when the patterns remind them of an artwork they once admired. My goal is to create work that stirs emotion, nostalgia, and a sense of wonder. Abstraction allows me to convey these feelings without defined boundaries, leaving space for individual interpretation and connection. 

Blur : You mentioned ‘having survived after years of not being able to differentiate between personal, editorial, and commercial work even though many have advised not to mix art and commerce.’ What factors influenced your decision to embrace both in your works and how has this shaped your artistic identity?

Aninda : It was the only way I knew I guess. I tried taking the advised route, failed and then decided to keep it simple for both myself and for people who are trying to hire me and Que Sera, Sera.

Blur : Do you have a definitive process while creating? Are there any habits or rituals that help you get into a creative mindset?

Aninda : My creative process varies depending on the medium I’m working with. For my textile pieces, my studio is often chaotic—threads, fabrics, and tools scattered around, reflecting the organic nature of the work. In contrast, when working with clay, despite its inherently messy nature, I start each day with a clean workspace—washed tools, a clear table, and a sense of order. This ritual helps me get into the right headspace. I don’t listen to music while I work; instead, I prefer podcasts. 

Blur : What role does the environment play in your work or in fueling your creativity?

Aninda : The environment plays a fundamental role in my work, both figuratively and literally. Everything I create is deeply connected to nature. When I lived in England, the changing seasons were a constant source of inspiration, as the landscape transformed so dramatically. These natural shifts continue to influence my practice, reminding me of the profound connection between art and the world around us.

Blur : The handloom industry is at a crossroads between modern efficiency and skilled manual craftsmanship. How do you see your work fitting into this larger conversation?

Aninda : I believe no modern machine can truly replicate the work of skilled karigars. Their craftsmanship is unparalleled, with a level of detail and intuition that machines simply can't match. In my work, I intentionally move away from perfection—embracing loose threads, missing stitches, and the organic imperfections that give each piece its unique character. When working with karigars, they often pointed out these 'flaws,' but to me, that was the beauty of it. Art isn't about mechanical perfection; it's about expression, individuality, and storytelling. While machine-made textiles have their place, the soul of handloom work lies in the human touch—something technology can never fully replace.

Blur : How has your artistic style evolved over the years, and how do you view this evolution?

Aninda : My artistic style has remained rooted in the same core interests, but the mediums I work with have evolved over time. The ideas and concepts that intrigue me persist, but they manifest differently depending on the medium. Exploring a new medium requires years of dedication—truly giving in to it, pushing its boundaries, and discovering new ways to bring my ideas to life. This shift in materials allows me to reinterpret familiar themes through fresh perspectives, enriching my creative process without altering the essence of my style.

Blur : Was developing a signature style a conscious choice for you? How did it come about, and in your view, is having a recognizable style essential for an artist, or can it become limiting? 

Aninda : Developing a signature style was something I was always consciously aware of. I wanted my work to stand apart, to reflect my thoughts, emotions, and perspectives. Growing up, my mother had a deep interest in fabrics and embroidery. We often had karigars at home, crafting custom pieces, and I vividly remember exploring the bustling fabric markets in cities like Delhi, Chennai, Hyderabad, and Ahmedabad. Each place had its own textile heritage—Pochampally ikat, Chikankari from Lucknow—and these experiences naturally nurtured my passion for textiles. Incorporating these elements into my work felt like a natural progression. The style itself emerged only after years of creating piece after piece, experimenting with different materials, and understanding each medium deeply. The same process applied when I transitioned to clay; I first had to grasp the medium’s nuances, and then my style evolved from those explorations. I believe having a recognizable style helps anchor an artist's work, but true creativity lies in allowing that style to grow and adapt rather than confining it to a rigid form. 

Blur : Any other mediums that you are looking to explore in the future?

Aninda : I’d love to explore weaving in the future. It’s a complex and intricate craft that requires immense skill, and I’m fascinated by its possibilities. I’d love to collaborate with experienced weavers to incorporate woven elements into my work, blending textures and techniques to create something new and dynamic.

Blur : If you were to collaborate with artists outside of your discipline, what would be that one collaboration you'd love to pursue?

Aninda : I’d love to collaborate with artists from various disciplines, especially those whose work resonates with my own passion for texture, craftsmanship, and storytelling. Collaborating with brands like Raw Mango, Misho, AKAARO, Naushad Ali, or Shop Drawn would be incredibly exciting. Their innovative approaches to textiles, jewelry, and design align with my interest in blending tradition with contemporary aesthetics. I’m always inspired by creative minds who push boundaries while honoring the essence of their craft, and I’d love to see how these collaborations could bring new dimensions to my work.