By the end of the residency, participants had developed prototypes, prints, and conceptual frameworks that extended their individual practices while anchoring them more deeply within the landscape and lived experience of Ladakh. Pheymakerz affirmed the value of slow, embedded making and opened up new pathways for artistic and material inquiry rooted in context. 

Ayan reflects on the evolving relationship between home, memory, and place, where abandoned houses and found objects serve as fragments of past lives. Through the project Shape of House, the artist explores collective memory by reimagining spaces using handmade cameras and sustainable printing methods. The resulting images blend abstraction and texture to blur the line between reality and imagination. The ephemeral nature of photography mirrors the shifting, layered memories shared across communities over time.

Sneha’s project titled She Who Walks the Path follows a feminist, decolonial, and community-based arts approach, centering the lived experiences and embodied wisdom of women in Buddhist communities. Through collaborative storytelling and creative practice, it offers space for healing, visibility, and spiritual engagement. Drawing on longstanding relationships with Tibetan communities, the work invites collective inquiry into the roles and voices of women in traditionally silent lineages.

Urgain worked with Markalak, a traditional Ladakhi clay, to explore its cultural and ecological significance through a contemporary lens. The work titled Sacred Scapes is rooted in Ladakh’s sacred relationship with the land, the project reflects on disappearing traditions and the growing disconnect between people and their environment. The work reinterprets ancestral knowledge to highlight the urgent need for ecological and cultural continuity in the region.