I am a Creative Director, Brand Strategist and artist from India, with over a decade of experience working at the intersection of culture, art and design.

My relationship with art began with my parents recognizing and encouraging my creative instincts early on, I spent my school years learning Lippan art, pottery, glass painting and oil pastel still life. By my early teens, I was illustrating references from Vogue and ELLE, drawn to the visual language of fashion and its ability to shape culture. At fifteen, I joined a design community that introduced me to the depth of Indian craft, textiles, materials and the skill set to practice it. A year later, I showcased my paintings at Monalisa Kalagram in Pune. It was an early introduction to the idea that art could exist beyond the page, in conversation with people, places and traditions.

I pursued a Bachelor’s degree in Design at Unitedworld Institute of Design, specialising in Fashion after my first year. I chose UID for its multidisciplinary environment, where fashion, footwear, jewellery, animation, graphic, product and automobile design existed under one roof. Disruption needs range, and I believe art and design come from every walk of life. My approach to design is grounded in continuous learning and unlearning, with an equal appetite for the stitching lab and the wood workshop.

During my time at UID, I explored wearable art and sustainability through independent projects, including a research paper for the Ministry of Textiles, Gujarat, on how algae-based fashion could help combat air pollution. I also spent considerable time travelling across Gujarat and Rajasthan, engaging with family-run craft and textile communities working in Bandhani, Ajrakh, Mata ni Pachedi, Dabu and appliqué. It gave me history and stories, shaped by generations of knowledge, labor and regional identity.

In 2021, I started DSCB, an Instagram-born project to battle the monotony of floral printed shirts in the Indian market, and a desire to bring my art onto garments in a more unconventional way. DSCB became a space to merge contemporary art with regional craft, cultural references and personal expression, challenging the boundaries between what we wear and what we consider art. The work was deliberately unfamiliar, inviting both curiosity and discomfort. That tension was part of the point.

As the project evolved, DSCB became a meeting ground for creative voices across disciplines. I collaborated with costume designers, poets, artists, performers and practitioners from varied fields, allowing each exchange to push the work beyond its original framework. What began as an experiment in reimagining the everyday shirt grew into a larger exploration of identity and the possibilities of art in unexpected spaces.

Today, my work continues to move between creative direction, art and cultural research. I am interested in ideas with substance and the unaltered urge to constantly unlearn and learn.