Performance Artist, Chandrika, Takes Us Through Their Journey from the Stage to the Silver Screen

August 8, 2026 - INTERVIEW BY Sarah ontiveros

Chandrika photographed by Sarah Ontiveros

So, three movies in a span of four months! Tell me about that.

Okay! In December 2025, my sister – and I always have to give her credit for this because it was kind of transformative, she was like, “you always kickstart [these plots] and you get into this hustle to make ends meet, why have you never put that towards your acting career?” She's seen the way I biohack life despite not working a nine to five or a more traditional job. I'm so freelance. It's not even funny. So when she pointed that out, at first it didn't occur to me that I wasn't doing that, but she had seen me act in my performance art practice, and she was like, hmm, all of these things you're doing that you're very passionate about, there's a thread and it's performance and it's acting.

And so her saying that to me in December, changed the trajectory of my goals. And I did it. I made like three Google docs and I was going to create a force of a demo reel through material that had never been used because I was going to source it from award winning short films from around the world. So that led me to watch hundreds of short films and find all these resources to find short films. I gave myself a month and I did all of this. And the goal was never to publicly share this demo reel because all I wanted to do was extract the text. Definitely not the performance – the performance is the work of the human and that's their interpretation. Honestly, it was insane. It was very type A of me.

Some method to the madness.

And so this is the irony here. I did that; this is how long the demo reel is going to be, these are the character types I will be showcasing, I've got some scene partners in mind. I was like, okay, let's get a little team together. Let me pitch it in a way that’s like, hey, this is going to be new work for each of us, you know, because it was going to be passion-driven. And it was at that moment where I started to self-submit on Actors Access, but funny enough, the first film that I ended up getting cast in was through Instagram. The second film that I got cast in was through Instagram. And the third was from the first film's crew who I had gotten acquainted with. We realized we're all Texas artists in the film world so we should keep up with each other. And that was the 48 Hour Film Project. Which is screening today.

*Lamb* (2026) Directed by Antonio Lasanta, courtesy of Chandrika

So it was this beautifully orchestrated journey . . . I took all of the training, all of the tools, and I [was] like, okay, let me see what I've learned. Let me see what I have and what I know. And I used that to direct me . . . Because you have to have tangible work that showcases your ability before anything. Expecting to get callbacks or even in rooms with your charm and your headshot? It’s unrealistic. It's not possible. And even though I've done the impossible for some reason I was like, no that's not possible, I have to be traditional. And fast forward to now, and my demo reel is of the [two] films that I've done. And it all started with my sister saying “hey, why don't you put effort over there?” And now we're here, six months later.

Yeah, you made that happen. You put in the work, now you can pat yourself on the back. And there's pride to be had there. And it's a hard thing I think for people to own that. You work hard and then you get rewarded for the things that you put a lot of energy into and then people assume that you should always be humble. But I think there's a time and a place to pat yourself on the back.

Yeah, because it was a journey and it's funny because that drama school chapter in my life ended like in 2022. So it had been years. And I hadn't been auditioning. Nothing. No one actually knew how deeply attracted I was to acting. Until I started to slightly pivot in my art practice, which I thankfully was able to nourish and cultivate because of COVID.

So take me back a little bit, where are you from?

I was born and raised in South Florida, and I moved to Texas at 16 and it was Sugar Land, Texas, which is super sheltered. And then I honestly did not leave [Houston] until 2019. And the only reason I left is because I was like, let me go see if I can audition and get into this school [in Los Angeles]. And I did. And then COVID. And then this whole time, I've been in Austin and Houston. And Austin, too, has been such a great landing pad for me as far as support.

There was something you said in your [Instagram] post about wanting to at some point close that chapter. And you touched a little bit on that. But what drew you back, besides your sister saying, “why don't you do this?” What was the draw for you internally that was like, okay, you're right, I do want to do that.

Well I had practically toured this one-woman-play adaptation through my art practice. That was a theatrical piece that I was thankful I could fit into a performance art realm and canon. And the way I talk about this series and that poet, I mean, this is like one of the loves of my life. And I don't even know that that chapter has fully ended. I just haven't performed it again. But yeah, there was a sort of internal and an external support system in recognizing wow, you're really connected to that art form. And every time I would perform this piece – I know a lot of artists probably have this – but there would be a giant void, post-the work and the rehearsals and [the] building up and then doing it, that I would immediately want to be filled with more performance.

It becomes this well and you stand there and you're taking from it and taking from it, and it's a good thing, you get all of this nourishment from it. But then you go back and it's empty. The well is empty.

Right, it's like, oh I have this seed. And then oh, it's sprouting! And then you're in that . . . It did feel like divine timing when my sister voiced that she had witnessed me do one of what I would categorize as – I don't want to say perfect – but I was very proud of this performance in Austin. And she had witnessed it and she kind of recognized it. She's like, you don't really need to do this piece again. That was it. And I was like, no that's not it. And even the tension between like, why am I holding on to this? And, I can also fully create something new. I don't have to be like, hey, this is my trick. I'm not a one trick pony. But I did get a little attached and I know it's a super special piece.

I think it's really beautiful, though, that she saw that in your performance and was like, that was it. You don't need to do that anymore. It was almost like she saw it and was like, yeah, you're ready. Do more. Go that way.

It's almost strange that even though I was like, oh, I love this piece and I'm going to keep it up. That in that journey, I wasn't recognizing for myself like, oh, wait, yeah I should probably just do this. You know what I mean? I'm so hesitant to call myself an actor. I don't know why I'm more comfortable with “performer.” I'm integrating my performance art practice with on screen film acting. It's that simple. There’s actually nothing else going on here. Ha!

I know you're kind of just getting started incorporating that performance work on screen, but do you think that there's a balance to saying yes to everything, but also wanting to be thoughtful in the roles that you choose?

Absolutely. I would say, there's so much power in “no.” There's so much power in you deciding, no, I'm not going to do that. It's an opportunity. There's money attached to it, yada, yada, yada. But you have to go back to self and it's hard not to be in this state of utter desperation, especially when you're just getting started, you feel like you have to say yes to everything . . . There's an art to saying no. I don't want to be typecast as a victim. I don't want to be X,Y, Z, and so you can see that in these three roles because they're so distinctly different. And that's what I want. I want the liberty to be seen for anything. I don't want to just have this one thing, this one edge about me.

Well, I think it lays the foundation for the roles that pick you. So when people watch your reels, they watch your performance, they realize, this was a thoughtful performance and she made sure that it was something that showed her ability. And so they say, I want that person! And if you're doing [things that don’t align with you] it's like, okay, they'll kind of do anything.

And I never wanted that. And I didn't want it in my art practice. I don't think of it as ego-driven. It's more like you know what you're worth. You know what you wish to be involved in and also to be considered for. And it's like you said, laying the foundation, you got to show people what you're willing to do and what you're not willing to do.

And I think a lot of people want to be perceived in a certain way. And some people don't care how they're perceived, but in this industry, that's kind of how it is.

That's all it is. It's so image-based. And that's something I'm already getting very strategic [about], in how to navigate. And if I had it my way, if I have any sort of control over it, which is almost impossible, I would like to protect and maintain my personhood . . . because you can do widely recognized work without sacrificing your personhood, your privacy, and your peace. And I've never seen fame serve someone. And I haven't touched it, and I don't seek fame. Just like I haven't sought wealth, you know?

Brittney Rodriguez and Chandrika on the set of *Three Dollar Bet,* courtesy of Chandrika

That’s independent art. I feel like when people think of indie art or indie films they’re like, oh, films with no money. And it’s like, no, it's a way of being. It's a way of moving through the film industry that isn't concerned with fame or money. We can do this anyway, we can create art anyway. And it can still be meaningful. I think that's at the core of independent film.

I think so too. And [they’re] going to look at the quality that they’re questioning [and say] how did they do it?

Yes!

The last question I had was, because I understand fully that there are a lot of people in this industry that do see themselves as actors and actresses, and I feel like there's been this lull in work for them which I know can feel discouraging, but I think you have a fresh perspective because you're just starting to tap into this. So what's some advice that you would give to a seasoned actor but also someone just stepping into this when it comes to choosing roles?

Firstly, you have to learn and be comfortable with the power of no, even though that may seem completely counterintuitive because it's like, wait, I'm just starting. What do you mean say no? You're thinking about your future self and you probably are not going to consider where you'll be in five years and ten years.

So it's best to kind of always consider, in a dreamscape world and realm, where do you want to be? Think like them. And I wish I had that advice, you know what I mean? Because I got scars, I got some battle wounds. But now I'm speaking from this position, so think and always consider your future self. And then that will probably inform and guide you in the present in ways that may not seem productive or may not seem of value, but then later you'll thank yourself like, wow, thank goodness I didn't do that weird web series, you know? With the nudity.

Okay, last thing, I had a fun one.

What is your dream role? Real or made up.

Biopic of Angela Davis. Truly a dream.

KEEP UP WITH CHANDRIKA

On Instagram @ch4ndrika

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