ANUPAM SUD

“Printmaking can never be totally predictable. It is like a sunrise over a landscape. You know
what is about to unfold but never cease to be surprised by the revelation."
Anupam Sud was born in 1944 at Hoshiarpur, Punjab but spent a substantial part of her
childhood in Shimla, Himachal Pradesh. As any other child she used to draw on walls with her
mother’s makeup after which her father brought her pastels and a sketchbook. By 1960, her
family had migrated to Delhi where she pursued a Diploma in Painting from the College of Art
(1962-67). After school she joined as student of mathematics but her father’s friend insisted
that she was great in arts and should be sent to art college. She joined college as a non-
collegiate as she tried for college but did’nt get admission. Printmaking was not her first choice
but destiny she saw her seniors working it and thought she would never touch this medium but
destiny got her there and she kept on accepting the challenges. She was the youngest member
of Group 8, a printmakers’ collective started by Jagmohan Chopra (1935-2013). This group 8
was her beginning in main printmaking as after this she got scholarship in british council.
Between 1971 and 73, Sud joined the Slade School of Art, London, under the tutelage of
Portuguese artist Bartholomew dos Santos to further her study in printmaking. For nearly three
decades after her return from London, she taught at the Printmaking department of College of
Art, New Delhi. Sud’s practice largely focuses on various intaglio processes and printmaking
techniques composing themes focused on the human figure. Over time, her practice has
evolved to include other mediums such as painting, charcoal, pastels and ink. As a student
studying abroad was keen if the materials would be available back in India so she used to ask
for raw materials which it was composed of so it could help her and other fellow artist back in
India. This clearly shows her dedication as an artist as well as a teacher.
Anupam Sud’s work has been exhibited extensively, both in India and internationally, in cities such as
New Delhi, London, New York, and Tokyo. She has participated in several prestigious biennales and
group exhibitions, making her a prominent figure in the global printmaking community. Her
contributions have been widely recognized, and she has received numerous accolades, including the
Sahitya Kala Parishad Award and the National Award by the Lalit Kala Akademi. Beyond her personal
artistic practice, Sud has been an influential teacher and mentor to several generations of
Indian artists. She taught at the College of Art in New Delhi, where she inspired many students
to explore the intricacies of printmaking. Through her mentorship, Sud has played a crucial role
in elevating the status of printmaking as a respected art form in India.
Anupam’s symbolic universe is a dimly lit backstage where men and women rehearse their
scripted roles and seductive power. They impersonate characters from mythological and
everyday narratives, and adorn or undress their bodies in the neverending costume drama and
rituals of life. These figures with perfect physique and stoic expression–at times
indistinguishable from mannequins and anatomical models given their lack of any marker of
identity–are often placed in an urban setting which seems accessible but only in appearance.
Within a system of light and shadow and high tonal contrasts, Anupam imparts a particularly
cinematic quality, noirish and uncanny, an atmosphere forbidding in its emptiness yet
suffocating by the looming threat of an ever-present gaze or erosion of personal space. Such an
emplacement of human figures, especially women, make them appear extremely vulnerable
and provide a sense of impending danger. She in an interview said that she painted numerous
figures, when she draws female figure it is her personal experience as a woman and not merely
an object but a source of inspiration from the world and while making man’s body it is the
musical composition of light and shade beautifying the figure.
Sinister and enigmatic, deceptive and irreal, these compositions also carry a subtle sense of
humour, playfulness, and even mischief. Anupam’s works are often presented in the style of a
puzzle or a game. Word puns and visual clues in the form of half-open chest of drawers, dice, or
headless torsos, are important in the staging and decoding of mystery in her universe. Despite
being figurative and exhibiting a great formal coherence, the plot and content of her works
preclude any narration or elucidation. She also did works on mythology, on ramyana and
Mahabharata context such as ‘draupadi vow’. The credit of her interest in mythology goes to
her mother and grandmother like any other Indian household she was connected with religion
in childhood itself.
Sud's work is deeply reflective, often exploring themes of gender, sexuality, identity, and
societal dynamics. A key feature of her art is her portrayal of women in complex roles,
reflecting the contradictions of modernity and tradition. Her women are neither idealized nor
victimized; instead, they carry a quiet strength and are depicted with layers of meaning, often
addressing their inner worlds and external societal expectations. She is primarily known for her
expertise in intaglio printmaking, particularly etching. Her prints are meticulously detailed,
often using fine line work, chiaroscuro (light and shadow contrasts), and careful layering of
textures. Sud’s technical proficiency is remarkable, as she is known for her ability to create a
range of tonal variations, which add to the emotional intensity of her works.
Sud’s monochromatic palette—often dominated by dark, earthy tones—lends her work a sense
of gravity and introspection. Her mastery of intaglio allowed her to explore psychological and
emotional depths, imbuing her works with a haunting quality that invites viewers to engage
deeply with the narratives she presents.
Her famous works such as The Female Gaze (1984) is a commentary on the portrayal of
women in art and society. Sud’s depiction of a woman gazing directly at the viewer challenges
the traditional “male gaze” and questions societal constructs around femininity and
objectification. The image is layered with symbolism, addressing the complexities of female
identity. Man and Woman (1979) etching represents Sud's ongoing exploration of gender
dynamics and relationships. The figures in the print are rendered with emotional complexity,
expressing themes of connection, conflict, and mutual dependence. The work invites the viewer
to consider the nuances of male-female relationships, both in personal and societal contexts.
Sud’s works like Victim of the Times and Waiting address social injustices and the limitations
imposed on individuals by societal structures. These works critique the often oppressive nature
of traditional norms and expectations, especially toward women. By bringing these issues into
the spotlight, Sud has prompted viewers to reflect on societal inequalities and injustices.
Sud’s technical expertise in printmaking, especially her mastery of etching, has elevated the
status of the medium in India. Printmaking was often seen as a secondary art form compared to
painting or sculpture. But with her dedication she established printmaking which is nonetheless
than any other medium.
As printmakers update and go all electronic, Anupam in many ways is an old-fashioned, slow
but steady mover who after thirty years continues to passionately refine her skills at etching,
inspite of having attained high levels of technical brilliance. The long tedious hours of physical
labour, studio confinement amidst chemicals, machine presses, heavy rollers, metal plates,
burners and innumerable tools have become a way of life for her - with no substitute. She
believes nothing worthy can emerge in the absence of perseverance. She is firm on her lifetime
commitment to printmaking, especially etching, that is second nature to her by now. For
Anupam, no fashionable fads, no bandwagon jumping or changing of tracks midway. She is
endurance [Link] printmaking as a respected and celebrated medium.
Resourced from:
Kiran nadir museum of art article- Between vows and words
[Link]
Indian art [Link]
[Link]
Youtube ; Punjab Lalitkala Akademy- Anupam Sud interview with Nonika Singh
Collage Art Talk 2024- Delhi Collage Of Art