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    Anupam Sud (b.1944)


    Anupam Sud | Biography | Life | artworks


    Anupam Sud, an outstanding graphist, has adopted printmaking, not only for artistic and emotional expression but also for making pointed social comments. 

    She has, over the last two decades and more, been endeavoring to transform the material, colors, forms and, of course, concepts and ideas, She is deeply concerned about establishing a communion between plastic form and content. 

    Hence her graphics arc essentially condensed expressions of social emotions encountered in day-to-day life. 

    The processes that Anupam uses fall under the category of intaglio—etching, drypoint, mezzotint, aquatint, etc. 

    What these have in common is the incision of lines or images into a surface, usually of zinc and occasionally of steel, which are filled with ink or similar substance for transferring the image on to paper. 

    She has handled the smallest size (8.5 x 10.5 cm) and the largest (121 x 45 cm) with equal proficiency. 



    Anupam's endeavor seems to be towards advancement in the representational approach, bordering on the Italian Renaissance styles. 

    She, however, reveals a crispness of design in the use of ornamental form that characterizes her works. 

    For instance, she reveals a rich pictorial imagination while interpreting the 12 Zodiac Signs with symbols and emblems, linking them to the life and fate of humans. 



    She generally simplifies the background and foreground, omitting all unnecessary details. The figures, however, possess prominent musculature. 

    They are strongly modeled forms, yet have soft contours. She makes dramatic use of light and shade. The expressions on the faces—masked and unmasked—are telling, as in her Adam and Eve and Purusha and Prakriti. 


    The unmasked faces seem to have been formed, as it were, by stripping off a layer of the outer skin to reveal the anxiety-ridden beings underneath, as in Rhapsody of Time and First Call. 

    Despite Anupam's most careful technical rendering of her prints, they transcend technique: versatility remains subservient to the idea, which essentially relates to the tragic existence of the individual today and his problems for survival.


    Among the rising generation who are significantly contributing in experimenting with innovative ideas in contemporary idioms, include Amitava Das, Atul Dodiya, Atul Sinha, Gopal Adivrekar, Gopi Gajawani, Dev Raj Dakoji, Durga Kainthola, Jagdish Chander, Jaya Ganguli, Kalicharan Gupta, Mona Rai, Nalini Malani, Nand Katyal, Niren Sen Gupta, Pankaj Panwar, Pratibha Dakoji, Prabhakar Kolte, Probir Gupta, Prem Singh, Rajeev Lochan, Ranbir Kaleka, Rekha Rao, Rekha Rodwittya, Rini Dhumal, Sanjay Bhattacharya, Shail Choyal, Shobha Broota, S.N. Singh, Sujata Bajaj, Suneela Bindra, Sunil Gawde, Vasundhara Tiwari, Vijay Mohan and Vijay Saraf, to mention some.









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