The Future of Craft: The Human Hand in the AI Age

Artificial Intelligence
Creativity, Art
Panel Discussion
Wednesday, 30th September 2026
From 6:30pm to 8:00pm (IST)
₹
Free

Details

Craft has always carried within it the memory of the hand. Long before technology entered the studio or the workshop, craftsmanship was already a form of intelligence: passed down through apprenticeship, refined through repetition, and embedded in community, material, and place. Today, artificial intelligence has entered spaces once considered the exclusive domain of human touch. From generating design variations and forecasting consumer trends to documenting endangered techniques and expanding access to global markets, AI is beginning to influence every stage of the craft ecosystem.

In the next episode of AVID's AI & Arts series, and in celebration of 40 years of Chanakya and 10 years of the Chanakya School of Craft, we explore the evolving relationship between craftsmanship and artificial intelligence. How are artisans and craft communities engaging with AI today? Where can technology support documentation, design innovation, knowledge preservation, and market access, and where does the value of human skill remain indispensable? Rather than viewing AI as either a threat or a solution, this conversation seeks to unravel the more nuanced reality in between, where AI may act as both a disruptor and an enabler.

Join us as we examine the future of craftsmanship at the intersection of tradition, technology, and human creativity.


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Faculty

Sushmita Kaneri

Sushmita Kaneri

Founder, Gullakaari

Sushmita Kaneri is a software engineer turned social entrepreneur and the Founder of Gullakaari, an NGO working with 1000 tribal and rural artisans to revive India’s traditional crafts and provide them with sustainable livelihoods. Gullakaari launched in 2023 with Dr. Kiran Bedi, marking the beginning of Sushmita’s mission to preserve India’s rich craft heritage. She is a recipient of the Asia’s 1000 Women Faces Award and has also been recognized among India’s leading women entrepreneurs and social innovators. Her work beautifully blends technology, entrepreneurship, and social impact to create sustainable change.

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Meera Goradia

Meera Goradia

Chair, Creative Dignity

Meera Goradia is a graduate of the Tata Institute of Social Sciences, Mumbai. Her experience of working with artisan clusters spans 3 decades. She has co-founded Kutch Mahila Vikas Sangathan with Sushma Iyengar and Alka Jani. She was the Director of Khamir, a premier organization in Kutch for the cultural and creative industries. Khamir was nurtured by her over ten years to develop innovative approaches to the artisan sector. Her experience ranges ground level artisan supply chain realities, building farm to fibre value chains, archiving cultural histories along with frontend integration. Since 2016, she has been consulting organizations and companies such as AIACA, RiseWorldwide, Jaypore, Center for Pastoralism, Ikai Asai etc. In 2020, she co-founded Creative Dignity with a group of other creative professionals, as a network to support the artisan sector through and post the pandemic. She is the Chair of Creative Dignity at present.

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Radhi Parekh

Radhi Parekh

Founder Director, ARTISANS'

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Siddhi Gupta

Siddhi Gupta

Assistant Professor, Srishti Manipal Institute of Art, Design and Technology and Design Director, Inclusive AI Lab

Siddhi Gupta teaches Creative Education at the Srishti Manipal Institute of Art, Design and Technology and is Design Director at the Inclusive AI Lab. She is currently pursuing her PhD at Utrecht University. Her practice spans visual storytelling, design research, pedagogy, craft, and emerging technologies, with a focus on creating access and facilitating learning through making. She has worked across alternate-learning schools, craft and cultural organisations, NGOs, government stakeholders, design labs, and museums, including the Ministry of Textiles, IIT Delhi, and the V&A Museum. At the Inclusive AI Lab, she has led projects with partners including IDRC, Adobe, and UN-affiliated initiatives, spanning digital rights, representative datasets, and ethnographic research.

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Collaborations

National Gallery of Modern Art
National Gallery of Modern Art
Ministry of Culture, Government of India
Ministry of Culture, Government of India
INTACH Greater Mumbai Chapter
INTACH Greater Mumbai Chapter
Chanakya School of Craft
Chanakya School of Craft

Press Coverage

The Future of Craft

The Future of Craft

Sunday, September 27, 2026 Free Press Journal
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Blog

Human Hand vs. AI: Reimagining Craft in a Changing World

What happens when the human hand meets artificial intelligence? In a world where technology is rapidly transforming how we design, create and communicate, craft offers an important reminder: creativity is not only about making something new, but also about carrying knowledge, memory and culture forward.

The conversation around AI and craftsmanship is therefore not simply about whether machines can replace handmade work. It is about understanding what technology can contribute to a craft ecosystem while recognising the irreplaceable value of the artisan.

Traditional craft is built through years of observation, practice and repetition. A technique may be passed from one generation to another through demonstration rather than documentation. The movement of a hand, the pressure applied to a tool, the understanding of a material or the ability to recognise a small imperfection often comes from experience that cannot easily be translated into instructions.

This makes craft knowledge preservation one of the most interesting possibilities for AI. Artificial intelligence can assist in documenting techniques, cataloguing objects, recording oral histories and creating digital archives. It can help preserve knowledge that might otherwise disappear as craft communities face changing markets, declining apprenticeships and economic pressures.

At the same time, AI is opening new possibilities for craft innovation. Designers and artisans can experiment with forms, patterns, materials and visual ideas using digital tools before translating them into physical objects. Technology can become a space for exploration rather than a replacement for the making process.

The question, then, is not human hand versus AI. It is how the two can work together.

For artisan communities, this distinction is particularly important. AI for artisan livelihoods could potentially support better documentation, marketing, storytelling and access to new audiences. Digital platforms can help communicate the story behind an object, while AI-assisted tools can make it easier to organise catalogues, develop product narratives or explore contemporary applications of traditional techniques.

Yet technology must remain sensitive to the people and communities behind craft. There is a danger in treating traditional knowledge simply as data that can be collected, reproduced and commercialised. Craft belongs to living communities, and any technological intervention must consider authorship, consent, intellectual property and fair economic participation.

This is where the work of institutions and practitioners becomes significant. The Chanakya School of Craft anniversary offers an opportunity to reflect on how craft education can evolve while remaining rooted in material knowledge and human practice. Conversations around the future of craft can bring artisans, designers, educators and technologists together to explore new models without losing sight of craft's cultural foundations.

Practitioners such as Sushmita Kaneri Gullakaari and Meera Goradia Creative Dignity contribute to a larger conversation about the value, visibility and dignity of craft and creative labour. Their work reminds us that craft is not merely an aesthetic category. It is connected to livelihoods, identity, community and knowledge.

The future of handmade craft may therefore be neither entirely traditional nor entirely technological. It could be a hybrid space where traditional craft and technology strengthen one another. AI can document, analyse, organise and inspire, while the human maker continues to interpret, feel, adapt and create.

Ultimately, craftsmanship is more than the finished object. It is the relationship between a person and a material, between knowledge and experience, and between one generation and the next.

In an increasingly automated world, the handmade object may become even more meaningful because it carries evidence of human time and attention. AI can help us imagine new possibilities, but the human hand gives craft its character.

The future of craft, then, is not about choosing between the hand and the machine. It is about ensuring that innovation continues to serve human creativity, artisan communities and the living knowledge that makes craft worth preserving in the first place.

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