This Women’s Day, we are honoured to introduce Ngoshi, a Tibetan artist whose paper collages breathe life into cultural memory. Through an intricate layering of textures—handmade paper, aluminium foil, and discarded fragments—her work transforms the everyday into something deeply evocative.
In conversation with Mapcha, Ngoshi shares the story of how she found her medium, the quiet joy of creating, and why she believes cultural preservation must always be an act of celebration.

Tell us about your journey—where it began and what drew you to Tibetan culture as your subject.

I’ve been drawn to art for as long as I can remember. As a child, I was always drawing, creating small worlds of my own. But when it came to choosing a career, I took a more conventional path and studied for an MBA. Art felt uncertain, and like many, I prioritised security. That changed when I volunteered for an NGO, where I reconnected with creativity in a way I hadn’t before. The turning point, though, came during the pandemic. I stumbled upon images of traditional Tibetan dress—the colours, the intricate layering, the richness of detail. I started experimenting with paper collage, and suddenly, everything clicked. This was my medium, my way of telling stories.

Your work is rooted in visual storytelling. How does art allow you to express things that words might not?

I’m not someone who shares my thoughts easily, especially with people I don’t know well. Maybe it’s because I understand how different everyone’s experiences are, and I don’t want to impose my perspective. But art gives me a way to communicate without explanation. Through collage, I can express what I feel in a way that feels honest—without needing to put it into words. There’s a quiet freedom in that.

As an artist working with Tibetan themes, how do you see the role of cultural preservation? Do you have advice for others wanting to give back to their community?

I think cultural preservation should always come from a place of joy. Often, it’s framed as a duty. And while it is a responsibility, I don’t think it should feel like a burden. If you engage with your heritage in a way that excites you, you’ll go further than if you’re doing it out of obligation. Joy sustains passion. It allows creativity to flourish. So my advice is: find the aspects of your culture that spark something in you, and build from there.

Since starting your journey as an artist, has your appreciation of Tibetan culture evolved? What do you hope younger generations take away from your work?

Absolutely. The more I create, the more I see the beauty in our traditions—not just aesthetically, but in the details, the craftsmanship, the meaning behind them. When you actively engage with culture, it stops being something distant. It becomes something you live, something you shape. For younger generations, I hope my work shows that culture isn’t just about preservation—it’s about continuity. It’s about recognising what is already beautiful and expanding on it, rather than only focusing on what has been lost. Both reverence and renewal are necessary for our traditions to thrive.

Your collages are incredibly intricate. How much time does each piece take, and what materials do you work with?

It depends on the level of detail. When I recreate traditional Tibetan attire, I often have to hand-paint patterns on paper, which takes time. The jewellery elements, especially, require careful layering. Some pieces take a few hours, others a few days. Most of my materials are handmade or decorative papers I’ve collected—often things others discard. For gold and silver accents, I repurpose aluminium foil, chocolate wrappers, even the gold foil from cigarette packaging (though I don’t smoke). There’s something satisfying about transforming overlooked materials into something meaningful.

Paper collage is a niche medium. Could you share more about your creative process and what you find most rewarding or challenging about it?

Paper collage found me, rather than the other way around. It started as an experiment—playing with textures, layering cutouts—and soon became my language. What I love most is the transformation: once you cut and assemble the pieces, they take on a completely different meaning. A scrap of paper becomes a silk brocade. A torn edge becomes an embroidered hem. The biggest challenge is the delicacy of paper. It’s fragile, so I’ve started learning about ways to protect my work—using acid-free materials, archival sprays, varnishes. Another challenge is capturing fine details. Translating something as intricate as Tibetan jewellery into paper requires a lot of problem-solving. The first attempt is always the hardest, but once I find a rhythm, it feels intuitive.

What do you consider your most valuable skill as an artist?

I think it’s being able to express something honest. Technical skill is important, but at the end of the day, it’s just a tool. What really matters is whether the work connects with people—whether it feels true. For me, art isn’t just about aesthetics. It’s about feeling, about storytelling. As I continue my journey, I want to deepen that sense of authenticity and connection. That’s what inspires me the most.

Experience Ngoshi’s Work at Mapcha

Ngoshi’s limited series paper collages and prints will be on display and available for purchase at Mapcha from 8th March 2025, Women’s Day. Visit our store to see her intricate compositions in person, or explore her work online.

This feature is part of Mapcha Artist Series, a segment in the World of Mapcha where we spotlight artists who reimagine Himalayan visual culture in contemporary ways.