Koshika merges her background in immunology with a deep creative drive to create unique artworks. From her recent winning design for Basel’s Wickelfisch bag to paintings that question scientific and ethical boundaries, her work is as thought-provoking as it is visually striking. We spoke with Koshika about her journey, the intersection of science and art, and her take on embracing creativity as both a calling and a challenge…
Koshika, thank you for meeting with me! We connected through the open call for designs for Basel’s iconic Wickelfisch bag, where you emerged not just as an artist but as someone with a fascinating background. How do you think of yourself - a scientist who makes art, or an artist who does science?
You know, at the core of it all, I’m a human being. My training is in Immunology, I studied microbiology in India, then did my master’s in immunology in England, and completed my PhD in Lausanne - (and somehow after several years in other countries I am back in Switzerland now. I think I’m someone who loves discovery and exploring the unknown, which has always driven me.
But art has always been with me too. Very often biologists are artists. There’s a common thread that connects biology and art: observing, experimenting, drawing and being creative. During my studies, I was always the one making our scientific illustrations, and from there, it evolved. Only recently did I start calling myself an artist. I joined the artwork team for the documentary film 49 to 51, and they encouraged me to own that label.
How and when did you end up learning to paint and draw more seriously?
Moving to Basel played a huge role in this. I connected with some incredible artists here who taught me so much. I took classes at the visual arts school and learned from many local artists like Patricia Kaliczka , Lucia Fischer, Robin Ballard, Jael Ludewig-kedmi, Charles Blocky, and Eunjin Kim. Patricia really taught me the basics and techniques that took my self taught skills to the next level. I was lucky that the artists here offer classes that are open to anyone. Basel has really given me space to embrace and explore this side of myself.
You mentioned that art became a bigger part of your life while working in the corporate world. What was happening there?
In academia, even though tough in its own ways, I always found room to be creative, but when I moved into the corporate pharmaceutical industry, that changed. The creativity felt stifled, and I needed an outlet, so I started taking these art courses and practicing at home. Painting became a way to reclaim something “more human” after a long day at an office. It helped me express my thoughts and process my questions about science through art, and then sharing them with others in a new way.
I noticed Theranos painting on instagram, titled "Temporary Gods". Can you tell us about it?
Elizabeth Holmes is fascinating. During my postdoc at Stanford, she was this rising star in Silicon Valley - someone we were being told to look up to and aspire to be. I remember watching a talk of hers and thinking, it felt like hype without the scientific substance - and even slightly disingenuous. But everyone else, including our Professors, made us think that is the ideal we should strive towards. It made me realize that even scientists can get caught up in the narrative of the lone genius. But science isn’t like that; it’s messy, collaborative, and rarely just one person’s work. The artwork "Temporary Gods" was my way of questioning those narratives - especially the way we idolize figures without looking closely at the science and propping them up as gods. The painting reminds us that scientists, too, are human, with all the flaws and biases that come with it.
I also noticed the painting behind you—a woman in a lab coat looking into a mirror with a monkey in a cage in the background. Can you tell me more about that piece?
That’s Distant Relatives. The depicted story comes from my experience with animal testing and more recent reflections on it. I’ve worked with mice and, looking back, I’m uncomfortable with how routine and normalized it was in the industry. I wish I had questioned the need for it more, especially for approval processes where animals suffer tremendously. Sometimes there’s a casual attitude towards animal testing that bothers me - the way it’s justified as the standard. This painting is about bringing those ethical questions to light and acknowledging the cost that kind of work has on these creatures and can hopefully spark conversations about the ethics of animal testing and alternatives.
There’s a clear plasticity in both of these works and you've mentioned exploring different mediums, like sculpture. What are some other ideas you're excited about?
Sculpture is for sure something I’m excited to try and explore more. I also want to work with living materials, like the symbiotic film created by kombucha. It has a beautiful texture and luminosity that could be molded into something unusual. I’m not quite sure about what this could look like, but I have my “little green notebook” where I jot down all these ideas and do little research sessions when I have time. There’s a lot of experimenting ahead…
Do you feel any pressure to make art your full-time work, or is it more of a personal passion?
I feel a general pressure to make a living in general, of course, but not yet from my art.
Ideally, I’d love to make a living from my art, but right now, it’s about focusing on the work. Art is more than just a hobby for me - it’s something essential. It’s like I need it to express myself, otherwise, I feel like I might explode.
For now it's about staying true to the work, rather than worrying too much about turning it into a career. When I am stuck, I also really enjoy responding to open calls and prompts from others. I really liked DOCK and Offcut’'s initiative where anyone can explore the works in their archive and react to the work in a medium of their choice using recycled or leftover materials.
Our connection also began through a prompt, and your winning design for the Wickelfisch bag competition. How did you find out about it?
Yes, indeed! I also owe that to the wonderful Basel connected scene and the artists who I’ve been able to connect with through the courses and beyond. I heard about the competition through the Art Museum of the World account on instagram, actually, thanks to Lucy who I’d done classes with. She shared it in her story I think, and I was super intrigued…
We can’t wait to see it in real life! What was the thinking behind your seahorse design?
The theme was deep sea, which was interesting for me and I knew from the start that I really wanted the design to represent Basel and maybe even the Baselsstab. My initial idea was a jellyfish tessellation - sort of M. C Escher inspired, but it ended up being too complex. Eventually, I chose a seahorse as the main design - they’re quirky, their skeletons are on the outside, the males look after the babies, they are full of contradictions, which feels fitting for Basel. Plus, I love seahorses! I went with a simple design, keeping in mind that it had to look good on a bag where less is more.
Before we wrap up, any advice for other people looking to transition into art?
I don’t love giving advice because everyone’s journey is different. But I can share what helped me: a friend of mine, Ambalika Khadria, who became a filmmaker, told me to expect the first few years to be tough, and that permission to struggle made it easier. Also, remember nothing is permanent—you’re not stuck in any job, role or label. We only have so much time, so spend it on what really matters to you. It’s okay if things are messy and difficult. I focus on the work itself, and don’t worry too much about where I am “supposed” to end up.
Finally, a question from my favorite game “We’re not really strangers”:
“What’s something you wouldn’t want to change about yourself?”
Hmmm… One thing I don’t want to change is my skepticism towards authority. It’s become so much a part of me, and it helps me challenge my own conditioning. I think that’s visible in my art, too - like in the Elizabeth Holmes painting, seeing past the hype. And it goes both ways: constantly questioning myself and my beliefs, allowing myself to make mistakes and also change my mind, like with animal testing, and always looking to grow.
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