Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they’ve been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures are used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning.

Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction.
Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they’ve been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures are used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning.

Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction.