Nehal: My experience studying at two of the most prestigious institutes in the country has been instrumental in shaping my work over the years. Although these experiences were often contradictory in nature, they served as foundational building blocks in my understanding of processes and imagery. My time in the painting department at MSU from 1995 to 1999 marked my very first exposure to the art world. We spent quiet hours reflecting and creating, with the privilege of learning from some of the stalwarts of the art world, including eminent artists and art historians. At that young age, I couldn’t fully grasp the depth and scope of my role as an art practitioner, but the knowledge and mindset I developed during that period became invaluable when I committed to a full-time art practice a few years ago.My experience at NID, on the other hand, was an exhilarating roller coaster, completely different from my time at MSU. Design processes there introduced me to the importance of methodical, critical, and analytical thinking, while design practices deepened my appreciation for our heritage, craft lineages, and ancient maker traditions.Overall, the learning experiences at both of these remarkable institutions have been pivotal to my journey as both a designer and an artist. 

Davangi: Are there any artists, their methodologies, or aspects of their lives that inspire you? (This could include peers whose work you find particularly exciting.) 

Nehal: I admire the work and approach of conceptual and multimedia artist Vibha Galhotra, particularly how she navigates perspectives on the climate crisis and ecology. Her pedagogical methods of creating art, using various materials and mediums to highlight the shifting topography of a world radically transformed by climate change, consumerism, capitalism, and globalization, are truly inspiring.

Nehal: In my startup, we designed and produced textiles using various intensive craft processes and techniques. Our aesthetic vocabulary was deeply rooted in age-old practices such as fabric dyeing, hand weaving, and hand printing. In my art practice, I incorporate methods such as foraging natural objects, documenting through visuals and texts, and conducting artistic research. The processes I use in these endeavors are heavily influenced by my experience as a professional design practitioner. 

Davangi: Your new series of works are in print. What made you choose printing over painting? 

Nehal: I have always been drawn to various techniques of printing, both as a designer and now as an artist. Printmaking, by nature, is an unforgiving medium that demands a methodical and pragmatic approach. After a few years of working as a painter, I felt the need to challenge myself by exploring a new medium and stepping out of my comfort zone. Printmaking did exactly that—it pushed me to my limits in a positive way, allowing me to create a fresh body of work that diverged from my usual approach to image-making. I would say that the medium itself inspired the thought, treatment, and imagery of the work.

Nehal: In my current art practice, I am independently researching the geographical and ecological aspects of the Dang region in South Gujarat, with a focus on studying the natural environment and the livelihood practices of the Dangi people. I intend to experiment and revisit the processes, tools, and methods I use for creating art and imagery. While I primarily work with oil as a medium, I plan to explore multi-dimensional mediums such as stop-motion animation, textiles, and watercolors. By challenging myself to work with new mediums and in environments beyond my studio, I aim to adopt an immersive and experimental approach to my upcoming projects.