Interview with Anjum Olmo

As part of our local Creative Community series, I had the pleasure of speaking with the artist behind Sari—a rich and intimate exhibition that explores cultural identity, heritage, and mindfulness through a deeply personal lens. Our conversation delved into the collaborative making process, the emotional reflections that followed, and the profound intention behind the work. From connecting with artisans in India to gathering sari donations across Western Sydney, the artist weaves a story that honours memory, celebrates community, and reclaims tradition. What follows is a glimpse into the heart and process of this extraordinary body of work.

As our readers are specifically from our local Creative Community, I’d be interested in you sharing elements of your exhibition inception/making/planning process. What was the process like for you? This could be from your initial conversations with Hayley as curator, perhaps how you went about creating a timeline within your practice to make the work whilst in communication with Hayley…. A little insight into the process of creating a huge and intimate body of work.

I work intuitively when it comes to making my art, although there is a clear concept in mind and a lot of research and planning has gone into each work. Ultimately, I rely on my mindfulness practice to guide me each step of the way. I treated each body of work like a project, each one required specific time frames and planning. For instance, I got in touch with artisans in India in October last year, and my first step was to build a collaborative rapport as I was unable to visit. It was key that we both had a clear, shared vision on the work’s concepts and how important it was for me to connect with my heritage through this creative process. The rest organically evolved from there. I provided the designs, which were then transferred onto woodblocks, delicately carved, and imprinted on the sari fabric. It was a lengthy process but worth the wait!

Now that your work is made and installed, what are some reflections you have about this very personal body of work?

I’m feeling incredibly proud. These works pull at my heart strings. The banksia design speaks of balancing between two cultures, and celebrating this balance through texture, colour and pattern. I don’t think I have a favourite artwork in Sari. Like a child, you can’t pick. They are all equally valued and provide something unique and special.

In saying this, I do have a soft spot for the Sari Temple. The community generously donated saris when I reached out, and I travelled around Western Sydney with my Mum, finding many saris in op shops. Seeing it come together brings me great pride, feeling as if I’ve captured everyone’s sari story in one installation. The shrine at the centre of the installation reflects my ultimate intention – for the viewer to consider the mantra: ‘to see the beauty in simple things, beauty is everywhere, and beauty is within you’. This is something I have learnt through my meditation practice.

Can you speak to creating  and sharing Sari  as ‘a reclamation of your Indian Heritage, weaving together nostalgia and cultural identity with your connection to the beautiful Blue Mountains’ (I love this statement!!)

My practice considers the ever-changing nature of maintaining equilibrium between my Indian and Australian identity, something I found hard grappling with growing up, as I wanted to fit in. My main connection to my heritage has always been through food and language. I am so grateful for these cultural gifts, but it was when I had my kids that I realised I had a duty to pass these gifts down to them. I wanted them to learn more about their heritage, and the different art forms India is recognised for - so the journey began to look within and share this with my community.