Interviews with Deval Ambani

My focus was to create an artwork that emanates serenity through light, translucency, and movement. I wanted the viewer to feel the emotion of a bloom — that sense of quiet joy and healing — rather than simply observe it. The goal was to design something that merges fine art, craftsmanship, and emotion seamlessly within architectural space.

The Blossoms Collection will evolve into larger, site-specific installations and limited-edition artworks for interiors. It will take shape in various forms — from sculptural wall pieces to illuminated installations — each exploring new materials and spatial expressions. Over time, the series will grow beyond Blossoms, expanding into new nature-inspired themes that continue the dialogue between light, texture, and emotion. Each piece will remain handmade and one-of-a-kind, with plans to showcase globally through collaborations with architects, hotels, and curated design exhibitions.

The concept matured over several months of exploration. From initial sketches to material testing, each artwork undergoes multiple experimental layers before achieving the desired balance of depth, light and translucency. Every step of the process is intuitive and meditative, requiring time for the material and emotion to settle into harmony.

The collection was a self-initiated exploration. It was born from my personal dialogue with nature and light — an inner need to express stillness, fragility and hope. Though many works are later commissioned, Blossoms began as an act of creative reflection rather than a brief.

All pieces are produced exclusively at OBLIQ. The proprietary glass-like medium and finishing techniques are developed in-house to preserve their uniqueness. For large-scale projects, we collaborate with material specialists, but the making remains entirely within our studio to maintain creative integrity.

I wanted to bring together the language of fine art and the tactility of design. Working with a translucent, glass-like material allowed me to express light, depth and fragility — qualities that mirror the delicate nature of blossoms — and to create art that interacts dynamically with interiors.

No direct designer or work influenced the Blossoms Collection. It belongs to a broader lineage of contemporary minimalism and nature-inspired abstraction but evolved independently through personal experimentation and spiritual reflection.

The collection is created for art collectors, interior designers and clients who value originality, emotion and craftsmanship. It appeals to those seeking serene, statement pieces for luxury homes, boutique hotels or wellness-inspired interiors.

Its distinctiveness lies in the illusion of glass without using glass. Each piece is made with a custom translucent material that captures and diffuses light softly, creating a luminous depth and fluidity impossible to replicate. Combined with the spiritual narrative behind each work, this gives the collection its meditative and ethereal quality.

“Blossoms” symbolises the process of unfolding — both in nature and within oneself. It signifies growth, renewal and the beauty of impermanence, perfectly reflecting the concept of evolving light and life embedded in each artwork.

The works are hand-layered using a proprietary translucent medium on engineered surfaces. Concept sketches and scale visualisations are done digitally, but the final textures and finishes are entirely handcrafted to preserve their organic flow and individuality.

The seamless fusion of material illusion and emotion. The surface appears as glass but carries a warmth and softness that glass cannot. It embodies both fragility and strength — a reflection of nature’s balance and the inner calm it evokes.

The Blossoms Collection was conceptualised and executed by me, with collaboration from material and installation specialists for larger works. The metal fittings used for mounting are specially handcrafted by metal artists to complement the organic delicacy of the pieces.

Technology supported the process in material development, digital planning and scaling for large installations. However, the spirit of the work remains entirely handcrafted — technology enhances precision but never replaces the human touch.

Yes — through tactile and visual research. I experimented with how various translucent mediums interact with light, colour layering and texture. The outcome is an optical softness that feels alive, responding to the ambient light of each space.

The primary challenge was achieving the perfect glass-like translucency without using actual glass. It required months of experimenting with materials and layering techniques to reach the right strength, clarity and glow. Scaling the pieces while maintaining their handcrafted feel was another complex aspect.

Submitting to the A’ Design Award was a way to share this new material language and spiritual design approach with a global audience. The competition celebrates innovation and emotional depth in design — qualities that are at the heart of Blossoms.

This collection taught me patience, balance and trust in the process. I learned that light and material, like emotions, need space to breathe. It reaffirmed my belief that art can heal and connect — that design can be both meditative and transformative.

The Blossoms Collection is more than an artwork — it is an evolving experience. Each piece continues to “grow” in dialogue with the space and the light around it. My vision is for every Blossoms installation to serve as a moment of pause — a reminder that growth and beauty can emerge quietly, from within.

The focus was on creating an ambient light that lifts mood without feeling heavy or decorative. I wanted a clean, understated piece that diffuses light softly and fits angular, modern office interiors.

The plan is to continue developing the range, create variations for different scales and contexts (residential and larger installations), and to showcase the piece internationally through exhibitions and client commissions. (Based on the award publicity and studio direction.)

The concept was conceived between December 2022 and February 2023; development and refinement led up to its submission and production.

It grew from an inspirational brief: to bring positivity into high-pressure workspaces. The concept originated from the idea of optimism and was shaped to work specifically for office environments — combining an emotional concept with practical needs.

The Silver Lining is presented and marketed through Obliq Design Studio (the studio produces and showcases the piece). For licensing or wider production partnerships, the award coverage positions the design for interest from producers and clients.

I’m drawn to sculptural lights because light alters mood and space. The brief — and my own interest in creating objects that carry emotional meaning — naturally led to designing a chandelier that is both conceptually resonant and materially elegant.

The design isn’t influenced or derived from any existing work or designer. It evolved naturally through observation, intuition, and my ongoing exploration of light as a medium. While it resonates with the spirit of modern minimalism, its form and essence are deeply personal, shaped by my experiences, emotions, and how I perceive balance, movement, and light in everyday life.

The target customers are corporate and professional clients (high-pressure work environments and offices) and clients seeking refined, minimalist chandeliers for contemporary interiors. It also appeals to interior designers and homeowners wanting a subtle statement piece.

Its combination of conceptual optimism, extreme visual lightness, and precise material use (thirteen precision-cut acrylic elements) gives it a minimalist yet uplifting presence that integrates with modern, angular interiors. The emotional concept is central rather than a decorative flourish.

The name Silver Lining directly references the idea of finding positivity amid challenges — the piece is intended as a constant, subtle reminder that there is light even in difficult moments.

The project combined traditional sketching and prototyping with precise fabrication techniques (laser/precision cutting for acrylic) and material mockups.

The most unique aspect is the way thirteen precision-cut acrylic pieces are layered to capture and diffuse light while maintaining an exceptionally light visual weight — a poetic balance of structure and softness.

The design required collaborators for fabrication and technical execution (precision cutting and assembly). The award profile and production imagery acknowledge the studio’s collaboration with fabricators and vendors to realize the concept.

Technology enabled precise fabrication (precision cutting of acrylic elements), exacting assembly and light diffusion control — critical to achieving the clean forms and the intended ambient effect. We have also added a dimmer option to create a feeling of softness in harsh circumstances.

The design responded to a contextual brief (office environment needs: light quality, scale, and integration with angular interiors) and practical prototyping research to test light diffusion, weight, and scale. The A’ Design notes highlight the practical testing and studio development.

Key challenges included achieving an ultra-light visual presence while ensuring structural integrity and consistent light diffusion, and refining the assembly so the fixture feels delicate yet durable — resolved through precise fabrication and iterative prototyping.

Submitting to the A’ Design Award was a strategic step to gain international visibility and to place the work in a global context. The award submission aligns with the studio’s aim to showcase the idea-driven lighting internationally.

The project reinforced how concept and craft must work together — that a clear emotional idea (positivity) must be supported by rigorous prototyping and fabrication practice. It deepened the studio’s skills in material precision and in translating a subtle concept into a functional product.

The award recognition has opened doors for larger commissions and collaborations. Above all, the piece reflects Obliq’s approach: design as a quiet, meaningful intervention that connects emotionally and elevates everyday spaces. For more images, specs and press materials, Obliq’s site and the A’ Design Award press kit have full assets.
OBLIQ and you can see on Instagram @obliqdesigns

Let me start by sharing why the name Obliq. The word itself means doing things differently — not the straightforward or conventional way. It reflects the spirit of creativity, of looking at things from a new perspective.
Obliq is a multidisciplinary design studio with two main verticals — brand design and art for interiors. Whether it’s crafting a visual identity or creating art pieces that transform spaces, Obliq is about bringing imagination, emotion, and originality into every project.

For me, design is a form of meditation — a space where intuition meets intention and ideas take shape. It’s about creating an emotion, a connection, and adding value to one’s life in a meaningful way. Design is freedom — the freedom to express, explore, and transform feelings into something tangible and alive.

I love working on decorative lights because they have the power to transform the mood of both spaces and people. I’m also deeply drawn to creating artworks where materials are explored in unexpected ways — where texture, form, and light come together to reveal something new and expressive.

It’s difficult to choose, as every creation feels like a part of me — each one has something special. But if I had to pick, I’d say the Silver Lining Chandelier is very close to my heart. It carries a concept of positivity and hope — a reminder to find light even in challenging times. I love it for its lightness, simplicity, and understated elegance, yet it has a very clean and sharp presence that makes it stand out.

The first thing I designed for a company was a brand identity project. It was a small assignment, but it taught me a lot about understanding a brand’s essence and translating that into visual language. Seeing the concept come to life and connect with people was a moment of clarity — it made me realize how powerful design can be when it carries meaning.

I don’t think I have one single favorite material — I love exploring and experimenting with different ones. Each material has its own personality, texture, and story. But if I had to choose, I’m especially drawn to metal and light — the way they interact to create reflections, depth, and mood fascinates me. I also enjoy working with mixed media, where materials are used in unconventional ways to bring out new expressions and experiences.

I feel the most creative when I’m in a calm, quiet space — when my mind is still and I can just be. That’s when ideas flow naturally, almost like meditation.
I also feel deeply creative when I’m faced with a design challenge — when I’m searching for a solution that hasn’t been done before. That moment of struggle, of pushing boundaries and exploring the unknown, often leads to the most meaningful and exciting outcomes.

While designing, I focus most on emotion, balance, and clarity. Form, design, and purpose are always at the core — I like to keep in mind who will be using or experiencing it, and how it will make them feel.
For me, a design should evoke emotion and create a quiet sense of connection. I pay attention to proportion, material, and detail, ensuring everything feels intentional and harmonious. Simplicity, when guided by purpose, often leads to the most timeless and meaningful results.

When I design, I feel a deep sense of calm and freedom — it’s almost meditative. There’s excitement in the process of discovery, but also peace in seeing ideas take form. It’s a mix of joy, curiosity, and stillness — a feeling of being completely present in the moment.

When a design is realized, I feel a deep sense of joy and gratitude. Seeing an idea that once lived only in my mind take physical form is incredibly fulfilling. It feels like a quiet moment of connection — between thought, material, and emotion. There’s also a sense of calm pride, knowing that something created with intention can now touch and inspire others.

A design is successful when it creates an emotional connection and serves its purpose with clarity and intention. It should feel effortless — balanced in form and function — while leaving a lasting impression on the person experiencing it. For me, success lies in how deeply a design resonates, not just how it looks.

For me, a good design must first connect — it should evoke an emotion or response. Secondly, it should fit seamlessly within its surroundings. Above all, it needs clarity, purpose, and a sense of harmony that feels intentional and alive.

A designer’s responsibility is to create with awareness and intention. While some materials I use, like acrylic, may not be fully sustainable, I try to use them thoughtfully — minimizing waste and creating pieces meant to last. For me, it’s about designing with consciousness and adding lasting value to both people and spaces.

The design field is evolving rapidly, and there’s incredible work happening all around. People have become much more aware of the importance of good design and how it makes them feel — it’s wonderful to see design being embraced at a larger scale.
I believe the future of design lies in balance — between technology and emotion, innovation and intuition. The most meaningful designs will be those that connect deeply, uplift, and leave a positive impact on both people and the planet.

My last exhibition was in Jan 2025, Nehru Center, Worli, Mumbai, India.
Next exhibition will be in 2027.

My inspiration comes from nature, emotions, and everyday life. I’m drawn to the way light, form, and texture exist so effortlessly around us. Creativity for me is like meditation — it flows when I’m calm and connected. I feed it by staying curious, experimenting with materials, and finding beauty in simple moments

My design style is minimalistic yet luxurious. I believe style isn’t something you consciously create — it evolves naturally over time, as an extension of who you are and how you express yourself.
My approach to design is very simple: it should speak, connect, and serve its purpose. Every piece should have meaning and clarity — a quiet strength that draws you in without trying too hard.

I live in India, and yes, the cultural essence of the country often finds its way into my work — sometimes subtly, sometimes more directly. The biggest advantage of living here is the constant inspiration around you. India is incredibly diverse — in its culture, colours, materials, history, and energy. There’s beauty and uniqueness in every corner.
The only challenge, perhaps, is the abundance itself — there’s so much to draw from that choosing what to focus on can be overwhelming at times. But overall, it’s a wonderful place to be creatively rooted.

When I work with companies, I like to build a collaborative and transparent relationship. I spend time understanding their vision, values, and what they truly want to communicate through design. Once that foundation is clear, the process flows naturally — through dialogue, exploration, and creative experimentation.
For me, it’s important that the outcome not only meets the brief but also connects emotionally and reflects authenticity.

Companies should choose designers whose values and vision align with theirs, not just based on portfolios. Trust their process, communicate openly, and allow creative freedom — the best results come from collaboration built on mutual respect and shared purpose.

My design process is intuitive yet structured. I start by understanding the brief — its purpose, audience, and emotion. Then I sketch concepts, refine, and rework until the form and feeling align perfectly. It’s a balance of logic and intuition until it simply feels right.

Five of my favorite design items at home- My cup, my note holder, my 1 hammer-screwdriver, my graphite paper weight, a spintop

My day begins with a calm morning routine and some exercise to clear the mind. The day often starts with small distractions, but the moment I pick up a pen and start doodling, everything quiets down. That’s when I slip into a meditative flow — sketching, exploring ideas, and designing for hours, completely immersed in the process.

I would tell young designers to travel, spend time in nature, and experience life beyond screens and trends. Don’t get caught up in the rat race. Stay curious, stay connected with yourself — because when you’re grounded, creativity flows effortlessly and authentically.

The positive is that you get to do what you love and express yourself freely — there’s nothing more fulfilling. The downside is that not everyone may understand your vision or see its value, which can be challenging at times.

Always think beyond the obvious. True design happens when you step out of the box and let intuition lead the way

The most important skills for a designer are the ability to be with oneself, to truly listen to your gut, to others, and to the world around you. That’s where honest and meaningful design begins.

My best tool is my pencil — it’s where every idea begins. I always keep a measuring tape in my toolbox. But beyond tools, my greatest sources of inspiration are nature, moments of observation, and books that have nothing to do with design — they help me see life from new perspectives.

That’s true — designing can take a lot of time. I usually plan backwards, keeping enough room for exploration, prototyping, and execution. Good planning helps creativity flow without unnecessary pressure.

It usually takes anywhere between 4 to 8 weeks from concept to completion, depending on the complexity of the design.

The question I’m asked most often is, “How do you do this?” — and honestly, even I don’t always have an answer. It just flows.

Every project has been a learning experience, but two that truly shaped me were creating my Silver Lining Chandelier and my first large-scale art installation. Both pushed me to think beyond materials and technique — to understand how design can transform a space and evoke emotion. They reaffirmed my belief that design is not just about what you see, but what you feel.

Most of my clients are homeowners and interior designers who are looking for something bespoke and meaningful.

I enjoy creating sculptural lights and art installations the most — they allow me to blend form, emotion, and material in unexpected ways. I love how light can transform a space and a person’s mood, making the invisible — emotion and energy — visible.

I plan to continue exploring and going deeper into the materials I’ve been working with, discovering new possibilities within them. My vision is to create larger installations and evolve my sculptural lights into more expressive, immersive forms.

I develop most of my designs myself, but the process naturally evolves through collaboration. When I share ideas with clients or vendors, their inputs often bring fresh perspectives — and together, the design grows into a better version of itself.

I’m currently working on a wall installation inspired by the Mughal era — exploring its intricate details, balance, and timeless elegance, while interpreting in a contemporary way. It’s about capturing the spirit of that era while giving it a modern soul.

People can reach me through Instagram at @obliqdesigns
by email at info@obliqdesigns.com
or on WhatsApp at +91 99670 13844

I think we’ve covered most of it. I’d just like to add that for me, art and design are deeply personal — they’re my way of meditating, expressing, and connecting with the world. Every piece I create is part of that inner journey — an attempt to bring stillness, emotion, and meaning into people’s spaces and lives.