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a hundred images of my great grandmother



silver gelatin emulsion on canvas with chemical resists, 42x54cm

black and white print showing a studio photograph of artist's great grandmother in dripping paint-strokesBlack and white abstract print with yellow and purple colours, showing the photograph of the artist's great-grandmother with face obscured, and material patterns around itblack and white print with some yellow and purple detailing, showing a big stroke of white in the middleblack and white print with yellow and purple details of the artist's great grandmother, with white swirls around the photographblack and white print showing obscured photograph of the artist's great grandmother, with material patterns abstracted into imageblack and white print with yellow and purple details, showing a more clear photograph of the artist's great-grandmother with white painterly marks around it black and white print with yellow and purple detailing, showing a photograph of the artist's great grandmother, with more deliberate, violent swirls of white obscuring the imageblack and white print of the artist's great grandmother which appears to have been aged and obscured

anoushka khandwala —


artist and writer 
living in London
teaching at Central Saint Martins 
studying at the Royal College of Art
challenging colonial ways of seeing


works  —


A hundred images of my great grandmother 
Re-membering
Uses of the erotic (the erotic as power)
Peter Hujar’s feet
Whose rest?
Guess who’s coming to dinner?


pedagogic projects — 


Remix: Activating the Archive
Open Dialogue Exhibition (website design)
Ways of Seeing: A Decolonising Arts Education Fellowship  


selected writings —


What Does it Mean to Decolonize Design?
AIGA Eye on Design

Do We Need a New Way of Talking About Diversity?
Creative Review

What Must Black Owned Arts Spaces Do To Survive?
Elephant

From the Grounds Up: Coffeeshops and the History of Iranian Art
Elephant

What Can Designers Learn From Indigenous Communities Fighting Climate Change
AIGA Eye on Design

The Struggle for India’s Soul: The Story of the Bengal School
Elephant

How the Radical History of Self Publishing Paved the Way for Artists Today
Elephant

The Age of Black Fabulosity: Queer Publications from the Harlem Renaissance
Elephant

The Publishing Collective One of My Kind Uses Zines as a Medium for Community Building
AIGA Eye on Design

How the South Asian Modernists Represented Postcolonial Freedom
Elephant

Rebel, Artist, Pioneer: The Life of Amrita Sher-Gil
Elephant

Why Are There So Few Women of Colour in Design?
Creative Review


contact —


anoushkakhandwala@gmail.com

email me here to sign up to my mailing list

exhibitions —


upcoming:RCA 2025 Degree Show, Painting Building, Royal College of Art Battersea

Parrhesia, Hockney Gallery, Royal College of Art

1, 2, 3, Alt! Hypha Studios Marble Arch

End of Year Show, Essential School of Painting, The Art Pavilion

Pivotal, Essential School of Painting, Karamel

Winter Show, Essential School of Painting

Work in Motion, OVADA

Corrrective, Window Galleries, Central Saint Martins


talks —


Royal College of Art
British Council
Maryland Institute College of Art
University of Bologna
University of Virginia in Qatar
Tribal Design Forum
ideo,org
Anti-Racist Cumbria
Bath Spa University
Parsons School of Design
Camberwell College of Arts
Central Saint Martins
Airbnb HQ for Grand Matter
AIGA Design Conference
Ladies Wine Design

studies —


BA (Hons) Graphic Design, Central Saint Martins

BFA Design, School of Visual Arts (Semester)

Painting Personal Projects, The Essential School of Painting

Rhythm, Race, Revolution, led by Dr Aditi Jaganathan

Decolonial Cinemas, led by Dr Aditi Jaganathan

(beginning Sept 2024) MA Painting, Royal College of Art


︎@anoushkakhandwala
anoushkakhandwala@gmail.com