︎

sketchbook



chalk or charcoal on paper, various sizes

A chalk drawing of an Indian woman with a plait reclining nude on a sofa swing, in bright colours. The drawing is on three pieces of paper, and the middle piece has been rotated upside down, so the piece appears fragmented.



Charcoal drawing in an expressionist style of a woman reclining with her head turned away from the viewer, with hand on her stomach and one knee raised.



Charcoal drawing of the back of a woman reclining, with one hand draped over the back of her thigh.



Charcoal drawing of a man with shaved head, holding his head in his right hand, with fingers splayed across the head. The face is somewhat blurred, making the face seem in motion.




Charcoal drawing of a nude man lying down, with head faced away from the viewer, one hand on stomach and another on the ground toward the viewer.




An abstracted charcoal line drawing of a man, with an indication of his fingers in front of him.An abstract charcoal portrait of a woman looking stern, with yellow and dark pink textures abstracted on top of her face.Charcoal portrait of a woman with large eyes looking concerned, with overdrawing in green and yellow abstracting the face.



A yellow and brown chalk drawing in a sketchbook of a figure's legs and multicoloured socks, above two figures, one driving a knife into the other's neck.




A yellow and brown chalk drawing of a face looking sad, with its hand wrapped around its head. The words exulansis and vermodalen swirl away from the figure to form a drawing of two figures in the rear talking at a table.

anoushka khandwala —


making images and words 
living in London
teaching at Central Saint Martins 
researching at Decolonising Arts Institute, UAL
questioning colonial ways of seeing


works  —


A hundred images of my great grandmother 
A lover’s gaze
Uses of the Erotic
Sketchbook


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

exhibits —


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
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


contact —


anoushkakhandwala@gmail.com
︎@anoushkakhandwala
anoushkakhandwala@gmail.com