A red seed & tribal woman inspire Kerala Ayurvedic doctor’s handmade jewellery trade

A few years ago, Dr Arish John Andrews, 32, wouldn’t have thought that a bright, little red seed would spur his artistic journey. It did, and has taken him from Ayurveda to art and eventually to handmade jewellery.

Arish, who completed his BAMS at Government Ayurveda College, Thrippunithura, in the 2013–2019 batch, started Atmashray Life in 2019. The venture brings together his interests in natural materials, traditional ornaments and contemporary design. Seeds, clay, bamboo, natural fibres, dried elements and paint find their way into his creations.

His initiative has since grown into a successful venture, receiving around 250 orders a day. During seasonal periods and special occasions, the number of orders rises even further, reflecting the growing interest in his handmade creations.

His connection with plants and natural materials began during his years as an Ayurveda student. But his interest in art goes back even further. As a child, he was fascinated by images and illustrations, often returning to pictures that caught his attention.

Painting and drawing, however, gradually took a back seat during his medical education.

“During my undergraduate days, we did not have the time to pursue painting and drawing. When I eventually got a break from my studies, it gave me the time to read, paint and draw,” he recalls.

A turning point came during his house surgency when he worked with a boy diagnosed with Angelman syndrome. Arish introduced clay as an activity to improve the child’s hand movements and fine motor skills. The exercise also brought him back to creating with his own hands.

“I touched clay again because of that boy. That made all the difference. It was a turning point in my life,” he reflects.

What began with clay soon moved towards handmade jewellery. His first clay ornament was made for his elder sister, whose colleagues appreciated the piece and encouraged him to explore jewellery-making further.

Another experience during a medical camp in a tribal village introduced him to traditional ornaments made from natural materials. He noticed an elderly woman wearing a necklace made from Vaijanti, a plant material.

“I was curious about the ornament she was wearing. When I came to know that it was made from Vaijanti, I wanted to try making something similar myself,” he recalls.

The experience deepened his interest in traditional ornaments and indigenous practices. He later pursued a master’s degree in Folklore and Cultural Studies, adding a cultural dimension to his understanding of craft and traditional jewellery.

The little red seed
Arish’s association with manjadikuru began during his college days. While walking around the college surroundings, he would collect the seeds from trees whenever he found them. What began as a simple fascination eventually became a material for his art.

Today, manjadikuru features in necklaces, earrings, bracelets, anklets, bangles and hair accessories. Its natural variations are an important part of his designs.

“When you work with natural materials, you cannot expect every piece to be exactly the same. Each one has its own shape, colour and character,” he observes.

For Arish, the material itself often suggests the design. The colour, texture or shape of a seed may inspire a piece, while an old ornament may prompt him to experiment with a contemporary interpretation.

“The colour, shape and texture of the material itself can give me an idea about what I want to make,” he explains.

His aim is not to reproduce traditional ornaments exactly, but to reinterpret their forms while retaining something of their character and cultural memory.

“I consider everything I make as art, and I consider myself an artist,” he affirms.

When craft has no gender
Atmashray life carries the phrase ‘Handcrafted by human’, reflecting Arish’s belief that creativity should not be defined by gender.

His jewellery-making videos have often led viewers to assume that the hands creating the pieces belong to a woman. The reactions have made him question why jewellery-making is still seen by some as a predominantly feminine activity.

“I chose the word ‘human’ because I don't want to define the person who makes the art as male or female,” he explains.

Sustainability is another part of his practice. Arish encourages customers to preserve and use his jewellery for as long as possible instead of treating natural-material accessories as passing trends. He also tries to minimise plastic in his packaging, using cotton and cardboard wherever possible.