In the luminous intersection of art and function, Radhika Sanghvi crafts lighting, that is poetry in three dimensions. As a sculptural lighting artist, Radhika transforms humble materials into extraordinary presences that both illuminate and captivate spaces through their ethereal forms.
Radhika’s artistic sensibility was nurtured from childhood in a home where creativity permeated every corner—her father, an artist and collector whose vision filled the walls, and her mother, whose hands werBeyond Light: Radhika Sanghvi’s Sculptural Illuminations
e perpetually engaged in craft. This rich creative environment provided not merely appreciation for aesthetics but instilled an intuitive pull toward making and reimagining the ordinary.
Her formal training in Sculptural Design refined this innate creativity, giving her the technical foundation to manifest her unconventional ideas. Yet what truly distinguishes Radhika’s work is not adherence to passing trends but her profound relationship with elemental materials—wood, reed, and paper—which she coaxes into new, unexpected dimensions that seem to defy gravity and conventional form.
Each Radhika Sanghvi creation is a study in transformative simplicity. Her sculptural lights appear to dance and float in space, creating illusions of movement that extend beyond their physical boundaries and invite viewers to participate in completing the vision. This deliberate emphasis on negative space—the art of illuminating emptiness—has become her signature aesthetic language.
Working exclusively through bespoke commissions, Radhika’s process remains intentionally unhurried and intuitive. She approaches each project as a dialogue—with the client, with the intended space, and with the materials themselves. The result is never mere decoration but rather one-of-a-kind illuminated sculptures with distinct character and presence, each meticulously handcrafted through a process that honors precision, patience, and the inherent potential of simple materials.
In this thoughtful conversation as part of DTalks, Radhika elaborates upon her design and process.
Q. How would you describe your signature design aesthetic, and how has it evolved while working in India?
Radhika: My design aesthetic is sculptural, minimal, and intuitive — always rooted in natural materials and movement. I work with branches that are foraged and found, each one guiding the structure of the piece. The reed is shaped in response, wrapping and arching organically. Paper, applied through a patient process of layering, becomes both the skin and soul of the form.
India has enriched my practice in unexpected ways. The sheer diversity of materials and techniques available here, and the everyday improvisation I see around me, constantly reminds me that design is not about control — it’s about trust. Trust in process. Trust in the imperfections. Trust in the unseen.
Q. What influences and inspires your current work? Could you share some movements, designers, or elements of Indian culture that have shaped your practice?
Radhika: I’m deeply inspired by nature and its rhythms — the curve of a branch, the way light filters through a tree canopy, or how shadows stretch and shift with time. Japanese wabi-sabi principles have also played a strong role — the idea of finding beauty in imperfection, impermanence, and incompleteness.
Indian craft traditions influence me not stylistically, but philosophically — the humility of materials, the intimacy of handwork, and the quiet resilience of slow making. I’m also inspired by contemporary designers who blur boundaries between sculpture, installation, and function.
Q. Could you walk us through your creative process? How do you move from initial concept to final execution?
Radhika: Every piece begins with a material, not a sketch. The shape of a branch often defines the soul of the piece. From there, I begin building around it — bending reed, creating curves, and slowly layering paper. The papering process is meditative and meticulous, involving repeated applications to achieve the right translucency and texture.
Illumination is the final, magical step. As dusk falls, the sculpture begins to breathe. Light transforms the work from static form to living presence. Patterns emerge, shadows stretch, and suddenly the piece feels like it’s in motion. The final installation is always site-specific and client-specific — a collaboration between their space and my imagination.
Q. Looking back at your portfolio, which project represents a significant turning point in your career, and among your recent works, what project are you most proud of and why?
Radhika: One of the turning points in my journey was a large-scale commission for a private residence where I was given complete freedom. It was the first time a client didn’t ask for a drawing — they trusted me to create based on a conversation. That project made me realise that the right clients will find me if I remain honest in my process.
Recently, I created a suspended piece for a slow-living retreat ’Tipai’— a floating sculpture that responded to natural light in the day and came alive with warm illumination at night. That work felt like an alignment of all my values — slowness, site-responsiveness, and subtlety.
Q. What unique challenges and opportunities have you encountered as an emerging designer in the Indian design industry, and how are you working to overcome these obstacles?
Radhika: The Indian design industry is blooming with new talent, but it’s also caught between two worlds — the allure of fast design and the heritage of slow craft. As someone working in the latter, visibility and scale can be difficult. People often ask why I don’t replicate or productize my pieces. But staying true to my vision — of making one-of-a-kind sculptural lights — is non-negotiable.
The opportunity lies in India’s diversity — of materials, traditions, and people. There’s space for everyone, and if you find your voice, your people will find it.
Q. How do you approach sustainability and eco-friendly practices in your designs, particularly considering India’s traditional wisdom and contemporary environmental challenges?
Radhika: Sustainability for me isn’t a marketing word — it’s embedded in the way I work. I use renewable materials like reed and paper, I don’t use machines beyond basic tools, and I generate almost no waste. More importantly, I believe in emotional sustainability — making things that people will keep, live with, and treasure.
India’s traditional wisdom has always been sustainable — repair, reuse, repurpose — and I try to carry that forward with integrity.
Q. What’s your most exciting recent design or art discovery that’s influencing your current thinking?
Radhika: Lately, I’ve been obsessed with shadow. How can shadow be a part of the sculpture itself? How can light not just reveal, but hide? This has led me into experimenting with layered translucency and double-skinned forms. I don’t know where it’s leading, but I’m enjoying the uncertainty.
Q. How do you build visibility and reach out to potential clients – what platforms and strategies have worked best for you?
Radhika: Social Media has been helpful as a visual diary — not just to share work but to share processes. But in truth, most of my clients come through word of mouth. Someone sees a piece in a friend’s home, or visits a space I’ve worked in, and gets curious. That organic growth has been slow, but deeply fulfilling.
Q. From your experience, what are the crucial dos and don’ts for young designers trying to establish themselves in India, and what professional forums or communities would you recommend they join?
Radhika: Although I am an emerging talent myself, I would like to empathise – Don’t rush. Don’t replicate. Stay close to your materials. Be kind to your hands. Know that your voice will only emerge if you keep showing up for your practice.
Also, surround yourself with people who believe in the long game — not just in terms of career, but also values. Platforms like Instagram help, but so do local design forums, open studios, and even conversations with like minded people in your city.
Q. As you look ahead, what kind of projects or directions would you like to explore?
Radhika: I’d like to move toward more immersive, site-specific installations — pieces that engage the full sensory experience. I’m also curious about scale — how far can I stretch these materials? How do I maintain the intimacy of handwork while expanding in size? These are questions I’m living into.
For now, I remain committed to creating slow, mindful, one-of-a-kind sculptures that illuminate not just spaces, but imaginations.
Featuring Image Courtesy: Radhika Sanghvi
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