Kala Curry Radio at Anchita Sharma's Studio

1. Tell us a little about yourself—who you are, what you do, and how art became a part of your journey.

I am Anchita and I am an embroidery and mixed media artist. Although for the better part of the last decade I have been a lawyer. Art is not something that we stumble upon. I think as kids we are encouraged to play with crayons, craft things.  So, in that sense it was always around but more as a refuge, a “hobby” ( I hate that word). But a little over a year ago when I was going through a very tough time personally, I started embroidering to distract myself. What began as a way to cope slowly transformed into an adventure, trying different mediums, using paint, patterns, techniques. The possibilities seemed endless, I liked that, it was very freeing.

2. Art isn’t just something we see—it’s something we live with. How does art seep into your daily life? And what does art mean to you?

That’s a loaded question—I’m still discovering what art means to me. It’s audacious, liberating, and defiant of the boundaries we often impose on ourselves. There’s something quietly magical about bringing a thought to life. Not everyone has to ‘get’ your art, and it doesn’t always need to be profound. Sometimes, the medium or the colors alone speak volumes.   

3. Why do you think handcrafted art matters today more than ever?

Absolutely—it challenges everything mass production stands for. Mass-produced goods chase perfection, often at the cost of individuality. They’re functional, yes,and certainly serve a purpose but rarely thought-provoking. Handcrafted art, on the other hand, feels personal. It’s a time capsule—capturing an emotion, an idea, a fleeting moment from the artist. We deserve more than just basic, uninspiring objects.

4. How many years have you been practicing this craft?

Seriously, a little over a year.

5. What makes an artist an artist? (like who can call themselves an artist/what counts as being an artist)

There is no eligibility criteria. The definition of art is fluid so how can there be a checklist for who can call themselves an artist? Making Norwegian black metal is also art and dirty car art is also art.

6. What does being an artist/brand that sells art mean to you? 

Beyond being my livelihood, which matters deeply, selling art helps each piece find its home. You can be possessive about your craft, but not about the art itself. Once a work is complete, it’s meant to go out into the world and find its forever place

7. How long does it usually take to create one piece from start to finish?

It honestly depends on the complexity of the design and the scale. 

8. What drew you to the medium(s) you work with?

I use paints, floss, fabrics, and other embellishments to create my pieces. The beauty of mixed media lies in its freedom—you're not bound by the limitations of a single medium. The textural variety adds depth, making the creative process all the more thrilling.

9. Could you share your thoughts on embroidery as an art form? Talk about its history and how you are using it today?

Embroidery is one of the oldest art forms—prehistoric, even. Growing up in Lucknow, where Chikankari is deeply rooted, it was never a revelation to me. But it wasn’t until I left home that I truly grasped how special it was. In school, embroidery was part of our curriculum; each year we had to produce one graded piece. I honestly hated it. Over time, I realized it wasn’t embroidery itself I disliked—it was the monotony of a rigid structure . Today, as an artist, I love to mix it up.I’m a sucker for painted skies, so I blend them with embroidered landscapes. The fewer the rules, the freer the art.

10. How do you see art products being perceived in an Indian market?

There’s certainly a market for art products in India, but when it comes to valuing the artist, we still have ground to cover. Handmade art isn’t meant to compete with mass-produced goods, they serve different purposes. Yet, they’re often compared, and handcrafted work tends to lose out on price, speed, and sometimes functionality. What gets overlooked is the soul, intention, and individuality that handmade art carries—qualities mass production simply can’t replicate.

11. Your work often plays with textures, beads, sequins, and metallic threads. How do you decide which material to use for a particular piece?

It’s a trial-and-error process, a little ‘fuck around and find out’. Don’t treat your art as something precious. If a piece doesn’t feel right, I’ll redo it. It might sound absurd, because art isn’t always logical but it’s about staying true to the vision, even if that means starting over.

12. Does planning and ideation take longer than the stitching itself? Could you walk us through your process from the first sketch/doodle to the final stitch?

Ideation is one thing—gathering the courage to commit it to fabric is another. I don’t doodle much; I tend to visualize, overthink, and then dive in. I use friction pens so if I make a mistake, I can make it go away. To bring structure to the process, I make diagrams and jot down color palettes and key features I want to include. It’s my way of keeping the vision intact without losing spontaneity.

13. The smaller hoops, fridge magnets, and key rings show a different challenge compared to bigger pieces. What shifts in technique are needed to scale embroidery down without losing detail?

Creating smaller pieces requires a slightly different approach. With a limited canvas, the first challenge is balancing detail with clarity. You have to be intentional, using fewer strands, finer brushes, and simplifying where needed. Clarity takes practice, but with time, even intricate designs can come to life on smaller hoops. 

14. The sunflower shirt and the Balehannu Tote are wearable art. How different is your approach when working on clothing/accessories compared to display art?

I start with the color palette—color theory is central to how I start building the piece. Then comes the design, deciding whether to lean minimalist or go maximalist. Finally, positioning ties everything together. These elements need to work in harmony for the piece to feel cohesive. I’m drawn to patterns, prints, and unexpected combinations—especially rare ones. Madras checks are a personal favorite (eg. the Balehannu Tote). What fascinates me about them is how something so traditional can still feel bold and contemporary. Wearable art makes art accessible and functional and something I’m excited to explore further.

15. Is there a song that captures the spirit of your work or something you love listening to while creating?

Music is a very important part of my creative process as I've grown up performing and I’m married to a musician. I find silence quite distracting.  NOT  a fan of instrumental, tries my patience.

If i had to choose one song it would be ‘The Modern Age by The Strokes’ because my music taste peaked when i was 17. 

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