Artist Yashika Sugandh's Work Confronts Human Encroachment On Nature

Yashika Sugandh is a contemporary Indian visual artist whose practice reflects a deep connection with nature and the unseen lives of flora and fauna amidst urbanisation. Raised in New Delhi and based in Noida, she began her artistic journey at age four, developing a visual diary rooted in memory, movement, and emotional landscapes. Drawing on Indian miniature traditions, her intricate works envision ecosystems where trees reclaim furniture and animals grow their own food, poetic inquiries that echo the spirit of humility, tolerance, and compassion found in the Bhagavad Gita.

In an interview with SheThePeople, Yashika reflected on her journey and how she discovered healing through her art. She also spoke about her collaboration with Hermès, where she designed artwork for the brand’s Mumbai store windows.

Yashika Sugandh In Conversation With SheThePeople

STP: Your art started as a "visual diary, rooted in memory, movement, and emotional landscapes." Can you elaborate on how these personal elements shape your artistic process and the stories you tell through your work?

Yashika: It came very organically to me. During the COVID lockdown, a bird came to our balcony and was so loud that I couldn’t ignore her voice. I told my husband that it looked like she had a loudspeaker attached to her. I then made a drawing of a bird perched on a chair with a gramophone growing on her head.

It was a time when we all felt caged, and on the other hand, animals and birds were moving freely—this made me happy. I felt as if they were taking back what belonged to them. The idea of these creatures being able to grow food on their own bodies so that they never slept on an empty stomach started becoming a part of my work, and slowly and steadily it turned into a world of my own.

STP: As an artist, you pose two intriguing questions: "Can trees grow through furniture?" and "Can animals grow their own food on what we’ve taken from them?" What inspired these questions, and how do you use them to challenge our perceptions of the relationship between humans and nature?

Yashika: I have always been a curious person by nature, always thinking of the what-ifs. These ideas were always a part of my subconscious, and once I started being observant and connected to nature, these questions lived in my mind. What if they (nature) take back what belongs to them because we are living on their land?

Can’t we coexist? So I started to answer these questions through my work. The wooden chair I sit on and work on started growing back branches, and the wooden brush I use also started growing again. I was now able to answer my what-ifs.

STP: A lot of the philosophical concepts from the Bhagavad Gita have been manifested in your art. How do they guide your creative purpose?

Yashika: I read a line from the Bhagavad Gita—let us become more humble like a blade of grass, more tolerant like a tree, ready to give all respect to others and not expect anything. Trees are paropkar, they always serve others. They tolerate all weather. Trees are the symbol of unconditional dedication, compassion, and service to others. This has always stayed with me. I truly believe in Sewa, Sukh, Hum, Ann, and Ghar. I also believe one day we all will become trees.

STP: Your artistic journey began at the age of four, when your mother recognised your "early inclination toward drawing." How did your family's support influence your decision to pursue art as a career?

Yashika: I was born in Kolkata, and I would like to believe that art is in my blood. My mother used to paint, and most women in my family had a bent towards art. My father has always supported me, and I feel blessed to have had such a supportive upbringing.

However, at a very young age I was challenged with depression and successfully fought it by creating art and finding myself. My childhood was a rollercoaster. The first drawing that started my healing was an underwater seascape with a big submarine, lots of fish, and an octopus with rangeela paints and my school socks on a wall. I still remember it like it was yesterday.

STP:In 2024, you were invited by Hermès to design artwork for their Mumbai store windows. Could you share your experience working with a global luxury brand, and how you adapted your artistic style to a commercial space while staying true to your personal vision?

Yashika: Hermès was celebrating 100 years of Faubourg. The theme of the celebration was “The Secret Garden.” I reimagined this theme as an idea of what happens in the secret garden when the clock turns twelve past twelve, 12:12.

My work has a bend towards mystical elements and creatures that I visualise, the playfulness of birds and animals, and the innocence of nature. Hermès’ theme matched and clicked with my style of working beautifully. They have an absolutely brilliant team, and working with them was a wonderful experience.

STP: You’ve showcased your work in several notable exhibitions, including Art Mumbai. How have these opportunities helped you reach a wider audience and engage in critical discourse about your art?

Yashika: The Hermès project opportunity came to me when my work was displayed in Art Mumbai in 2023. As an artist, exposure is important; to be able to exhibit our creations, our thought process, and how we perceive things is equally valuable. I am always learning new things and grateful to be able to do what I do.

Yashika Sugandh will present her solo exhibition Vartaman, which reflects on the fragile relationship between humanity and nature. The exhibition will run from 27 September to 1 October at the Living Traditions Centre, Bikaner House, New Delhi.