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Anupam Sud

Indian Contemporary Artist
Born 1944, Hoshiarpur, Punjab, India
Lives and works in New Delhi

Known as the finest printmaker among new generation of artists in India, Anupam Sud's art epitomizes the interrelation and psychological tension between men and women. Her 'feminist' works are more metaphorical than direct, reflecting her humanistic sentiments. Although she works across all mediums, Sud's multi-media prints and etchings that involve the intaglio process still hold their sway over her paintings.

Education

1972

Print Making at Slade School, London (British Council Scholarship)

1967

Diploma in Fine Arts, College of Art, New Delhi

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LIFE AND WORK

MAPPING THE ARTIST

11

Gallery Show Solo

16

Countries exhibited in

0

Museum Show Solo

1

International / national residencies

46

Years in Practice

14

Auctions

0

Special Projects

11

Biennales

6

Museum/public collections

0

Museum Show Group

33

Publications

9

Awards

39

Gallery Show Group

3

Art Fairs

UNDERSTANDING Anupam Sud

She found inspiration in human sexuality and identity

Anupam Sud's oeuvre exemplifies the interrelations between man and woman and that of between man and society. She explores clothed and unclothed figures in her etchings that often seem self-absorbed and brooding. The themes of manipulation, the relationship of power to predicament, of powerlessness and temptation, human fallibility and trappings, the masked existence of urban people, the inertia of government structures, are some of the recurrent themes that engage Anupam's thought process.

Sud states that her works, more metaphorical than direct, are distinct reflections of the environment and people that surround us. But what is more real and significant to her is the reality that exists in their minds than mere physical reality.  Her work has evolved in phases – from architectural forms to human figures in the mid 1970s and then moving to largely feminist subjects in the late 1970s.

Anupam Sud, Healthy Relation, 2007

Sud experiments with different intaglio processes and other media

The artist states that her print images can never convert into painterly images for the canvas, as the working body itself rebels and the textures that she visualises either belong to etching or painting. She combines her knowledge of different intaglio processes with lithography and screen-printing.

Sud, although known as one of the finest printmakers among the new generation of artists in the country, has used the intaglio process in all its variations – etching, dry point and she's also known for her treatment of oil, watercolours and in sculptures

Anupam Sud, Untitled, 1999, watercolour & ink on paper, 5 x 4”

Restraint is the keynote of her work

Her etchings involve the aquatint process wherein she uses zinc plates; a difficult medium that requires both patience and accuracy. Drawing is the backbone that defines the space-form relationship in her works. The unbroken lines and contours effortlessly drawn on zinc plate melds with her perceived human form and define her characters with prodigious strength.

She creates volume and texture effectively treating her intaglio prints with chiaroscuro. The flawless gradations of tones give the nude forms an almost sculptural feel. Manipulation with the treatment of surface with a variety of textures - cracks, blisters, wounds, relief and smoothness result in characterization of the form.

Anupam Sud, Dining with Ego, 1999, etching on paper, 26 x 44”

Sud's art epitomizes her humanistic sentiments over feminist ones

Thoughtful and glum, her works of firmly drawn figuration of men and women typify the general human predicament and psychological tension between man and woman. She believes that a man-woman relationship reels between mutual exploitation and tender coexistence. For example, the “Game Series” provides oscillating views of exploitative situations, where the man and woman, both in different contexts, are shown in manipulative moods; while the “Dialogue Series” reflects human communication between people of various sexes as gently intimate and non-verbal.

Anupam Sud, Dialogue, 1984, etching and aquatint printed in black and cream

Bibliography