Hansika Sharma is a Textile Artist whose central concerns are the colour indigo, complexity of embroidered surfaces, transformation and is informed by the philosophy of self reflection. She has developed a connection with the colour Indigo as a colour of her soul, drawing similarities with the History of Indigo that changed the world and politics in a way, as well as its personal mysterious chemical nature of getting alchemised from green to the deepest darkest beautiful form of blue. She is currently working on a series of work ranging from very small size artworks to large scale tapestries with different fabrics dyed in shades of Indigo. The range of work are symbolic of diary entries from the past two years of her personal growth, challenges and investigations.
SP: How does Indigo hold a special place in your art-practice? How do you choose a colour palette in making the art?
HS: Indigo, to me, is more than a colour — it is the language of my soul. Its enigmatic transformation from green to blue feels like a reflection of my own journey — alchemical, spiritual, and deeply personal. It carries the weight of history, rebellion, and resilience, echoing stories of both beauty and turmoil. When I immerse myself in indigo, I am reminded of the world’s struggles, the triumphs, and my own reckoning with life’s complexities.
Choosing colours has never been a deliberate act for me. Indigo revealed itself when I stripped away all pretence, when I dared to express myself in a raw, unguarded way. It is the shadow of my internal landscape, the deep ocean of thought, while the colours in my external life are fleeting reflections of the surface. Indigo is my constant, my truth, my eternal companion.
Image Courtesy: Hansika Sharma
Image Courtesy: Hansika Sharma
SP: Embroidery is the primal area of your art practice, working with materials such as cotton threads and Zari. How do you use these materials in exploring and expressing complexities of human emotions and thoughts?
HS: Embroidery, in its essence, is meditation. The repetitive act of stitching connects me to something primal, rhythmic, and eternal. Each thread is a sentence, each stitch a moment of introspection. The materials — cotton threads, beads, and Zari — are my tools for storytelling. They allow me to map the fractals of my emotions, flowing endlessly like thoughts without a beginning or end.
Silver Zari, in particular, is my balm. It illuminates the melancholic corners of my mind, creating spaces of healing amidst the chaos. Through embroidery, I give form to the intangible — grief, joy, resilience, and transformation.
Image Courtesy: Hansika Sharma
SP: Could you walk us through your artistic process — from the concept to its completion? How do your ideas evolve as you work with the fabric?
HS: My process is an intimate dialogue with the unseen. It begins as a whisper — a fleeting vision that lingers until I meditate on it. The image becomes clearer, like a revelation waiting to be unearthed. I then sit with the fabric, letting it guide me. There are no sketches, no plans — only a fluid conversation between my thoughts and the needle.
Layer by layer, the work evolves organically. Each stitch is a movement, a dance between my hands and the fabric, a silent choreography of emotion and intuition. I stop when the piece whispers back to me, telling me it is whole.
Image Courtesy: Hansika Sharma
SP: Could you tell us about your works that were displayed at the group exhibition, “What She Means: Interpretations by Women Artists” by Cultivate Arts at The Stands, Wankhede, Mumbai? How did the exhibition come together?
HS: At the exhibition, I presented ‘Old Ones Mutate’ and ‘Ornaments of Tragedy.’ These works are deeply personal — journeys of transformation and resilience. ‘Old Ones Mutate’ speaks to the evolution of dreams, desires, and selfhood. It is about shedding old skins and embracing mutation as a form of self-awareness and growth.
‘Ornaments of Tragedy’ emerged from a period of immense sorrow in my life. It reflects the beauty and pain of learning, the mementos we carry from life’s darkest moments. These ornaments are not decorative; they are symbolic — each stitch holding a lesson etched into the fabric of my being.
The exhibition’s theme of resilience resonated deeply with me. It felt like a collective celebration of strength through the lens of women’s experiences, and I was honored to stand among such incredible voices.
Image Courtesy: Hansika Sharma
SP: Your art often touches on socio-political issues through personal experiences. How do you think textile art can contribute to conversations about these bigger topics?
HS: Textile art is woven into the fabric of humanity — both literally and metaphorically. It is a material of memory, identity, and emotion. Textiles carry stories across generations, cultures, and borders. They are personal and political, sacred and everyday.
When I work with textiles, I am not just creating art; I am invoking history, community, and individuality. Textiles can challenge narratives, celebrate resilience, and connect us to forgotten traditions. They are a quiet but powerful medium — soft in form but unyielding in the conversations they provoke.
Image Courtesy: Hansika Sharma
Image Courtesy: Hansika Sharma
SP: What advice would you give to the young emerging talents who are trying to find their artistic voices in the art world?
HS: The only advice I have is to be unwaveringly honest with yourself. Do not seek to emulate others or chase trends. Your art is a mirror of your soul — let it reflect you in all your imperfections, complexities, and truths. The world does not need another Picasso or Frida. It needs you — authentic, raw, and unapologetically yourself.
Image Courtesy: Hansika Sharma
Find out more about the artist and her artworks: https://www.hansikasharma.com/
