Reha speaks to Blur The Border :

Blur : What motivated you to pursue such a niche craft and carve out space for it in the broader creative landscape?

Reha : What really motivated me was noticing an opportunity, a kind of white space, because while there’s so much conversation about craft and its place in fine art, almost no one was actually trying to push a practical craft like woodturning into that space and treat it as an art form. I was drawn to woodturning itself because there’s something magical about being able to pull out a form from something so raw and rough, to see it emerge in front of you while you work on the lathe. Unlike pottery or wheel throwing, you don’t get a second chance on the same piece: whatever happens, happens. Each piece ends up being fundamentally unique because I work with a material that has grown a certain way, and it shows in the piece. That mix of unpredictability, honesty, and possibility really pushed me to carve out my own path in this niche.

Blur : What were some of the biggest challenges in teaching yourself a process as technical and tactile as woodturning? 

Reha : Everything! The hardest part was not knowing where to begin—there was no roadmap and very few people to ask, especially locally. I had no idea what lathe to buy, where to get tools or wood, or what accessories I’d need, and people often didn’t take me seriously when I asked questions. It took me six months of research, countless trials and errors, learning through books, online tutorials, talking to other turners, and even walking around the neighbourhood looking for workshops with lathes to put together a workable studio. 

Woodturning is so tactile that you really only learn by doing and making mistakes. I had to teach myself to read the grain, feel how the tool vibrates, and understand how different woods behave. There were moments of frustration of course, especially being entirely on my own, but I think those struggles made the process feel more personal. I felt alive chasing something with that intensity after years, and I didn’t want to give up just because it was hard.

Blur : What aspects from your architectural training have carried forward in your current practice?

Reha : I think the biggest carryover is the way I see and think about form, proportion, and structure; it’s become instinctive over the years. With each piece, planning can only get you so much, the rest is up to the wood. But even then, I still sketch ideas, plan the overall shape, and think about balance and scale the way I would with a space. And just as important is the problem‑solving mindset that architecture teaches you. Working on project sites as an architect and designer meant constantly dealing with unexpected challenges: last‑minute changes, delays, things going wrong. You learn to stay composed, keep your patience, and focus on getting the job done no matter what curve balls come your way. That felt very relatable when I was setting up my studio! Training and working as an architect makes you tough, and I think that resilience helped me stick with woodturning even when it felt overwhelming.  I may not be actively practicing architecture or design as a profession anymore, but it’s still very much part of my life in ways that are hard to put into words—it never really leaves you. That mindset and way of seeing continues to shape everything I do.

Blur : You have mentioned wanting to move away from the idea of woodturning as purely functional. What inspired you to take a more sculptural approach?

Reha : In India, woodturning has a long, rich history, practiced by communities like the Wadha Kohlis of Kachchh who make everyday kitchen tools and toys, the Kharadi artisans of Sankheda known for their turned furniture, or the Channapatna craftsmen famous for lacquered toys. But today, most people still see turned objects as something functional and mundane: table legs, bowls, bedposts. It sits close with carpentry. Traditionally, woodturning is also about making symmetrical objects, shaped around a central axis.When I started turning, I felt strongly that this craft could become something more than just functional. I wanted to create pieces that make people pause and wonder, “How was this made?”—that small moment of curiosity that can open someone’s eyes to the skill and beauty of the process. I found myself more drawn to the raw beauty of the material itself: the grain, knots, cracks, and natural imperfections. I wanted to explore forms that highlight those details instead of hiding them, it just felt more honest and personal. Over time, that curiosity naturally led me to experiment with more sculptural, asymmetrical forms that feel quieter, slower, and a little closer to art than craft. Drawing from India’s woodturning heritage, I try to blend traditional techniques with contemporary, organic shapes to push the craft beyond utility. For me, it’s about making woodturning feel relevant and captivating again, and showing that it can sit comfortably between art and craft.

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

Reha : I don’t follow a rigid process, but there are small habits that guide me. Over the years, I’ve built a visual library on my phone and scribbles in my sketchbook of natural textures and forms I come across on my travels or walks on the beaches here. That’s become a quiet ritual for me, and it fuels a lot of the ideas. 

Before turning, I usually draw rough forms in my sketchbook. Then I look at the wood blanks I have in the studio, assess their grain, size, cracks, and knots, and figure out the best way to work with each piece. From there, I let the process unfold naturally on the lathe, allowing the material to guide the final form. But overall, especially with the recent addition of new materials in my practice like clay and a sculpting paste inspired by the traditional Kinnal craft, I prefer being intuitive rather than methodical: asking along the way, “What happens if I do this, or that?” It keeps me from falling into a predictable rhythm and helps each piece stay fresh and responsive to the material.

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

Reha: Nature sits at the core of everything I create. I didn’t have such easy access to the beach back home in Bombay, but ever since I moved to Chennai, the coast has become a huge part of my practice with beachcombing turning into a daily ritual. I collect driftwood, seashells, rocks, seeds, and seed pods, and these natural forms and textures end up shaping how I see and what I make. Even outside the coast, I’m always observing intricacies in nature: tree bark, insect marks, fossils, the quiet details that often go unnoticed; it keeps my visual library growing. Being surrounded by these raw, organic textures fuels my creativity far more than anything planned or structured could.

Blur : What, in your opinion, can the industry, and us as consumers do better to support niche hand working crafts like yours?

Reha : People often buy art because it’s unique—but there’s no reason why the everyday objects we live with can’t also be unique and beautiful. Yes, handmade work might cost more than mass‑produced things, but each of us can choose to play the role of a curator in our own lives. If more people begin to see value in craftsmanship and choose to live with objects that hold character and intention, then craft will always have a place.

I’ve also noticed a clear bias, especially in the Indian art industry, about what is considered “art” and what is dismissed as just “craft.” It is frequently left out of the ‘contemporary art’ discourse, the work is usually shown in craft museums or biennales or government platforms. I believe this mindset can change, and if it does, it could open up more opportunities for artisanal communities, bring craft to the forefront, and create space for practitioners like me who are trying to blur those lines. Ultimately, it’s about seeing craft as something living and expressive, not just decorative or utilitarian. 

Blur : Where do you see your practice heading in the coming years? Are you more drawn to showcasing your work through exhibitions, collaborations, or creating a product first brand?

Reha : Right now, I’m more interested in exploring woodturning as an expressive, sculptural practice rather than turning it into a purely product‑based brand. I’d love to show my work through exhibitions, open studios, or small collaborations where I can share the process and story behind each piece. I also receive frequent enquiries about conducting workshops as we generally don’t have any tailored around woodturning in India, so I am working on that as well. At the same time, I’m curious to see how my practice could grow beyond wood, and I am currently developing works that combine wood with other materials and techniques I explored during my residency at Hampi Art Labs earlier this year.

Blur : If you were to collaborate with another artist, within or outside of your discipline, what is one collaboration you would love to do?

Reha : Ah, I have so many names! Apart from other wood turners across the globe I would love to collaborate with and whose work continues to inspire me, I have a strong desire to work with metal someday. And one artist that pops into my mind is Jaiik Lee, a South Korean fine craft artist known for creating organic, porcelain-like metal sculptures.