Sud became the youngest member of Group 8, a collective of printmakers founded by Chopra, dedicated to promoting and expressing printmaking as an independent art form which lasted from 1935-2013 (“Anupam Sud”).

The socio-political context within which Sud was immersed was marked by significant events in India that still hold lasting impacts today. The Partition of India in 1947, , led to the division of the country into independent states of India and Pakistan. Punjab, Sud’s birthplace, experienced a division that caused large-scale loss of life and massive migration. The division of Bengal and Punjab resulted in the creation of separate states, with Punjab being split between India’s East Punjab state (which was later divided into Punjab, Haryana, Himachal Pradesh) and Pakistan’s Punjab province, leading to demographic and cultural changes (Kulik).

In the 1960s, as Sud delved deeper into printmaking, India was embroiled in conflict with China (Indo-China War, 1962). This conflict led to a ban on specific acids essential for the printmaking process (Chawla). Not only that, but since metal plates were difficult to acquire, Sud, under Chopra’s guidance developed an alterative technique called collagraphy, in which cardboard was affixed to produce a textured printing plate to continue her artistic practice (Choudhury).

Furthering her education, Sud pursued advanced studies at the Slade School of Fine Art in London from 1971 to 1972, supported by a British Council scholarship. Under the mentorship of Bartolomey dos Santos, a Portuguese artist, Sud refined her techniques with a goal to integrate her learnings into India’s art scene.

“My mission to go abroad was to learn as much as I could, so I could put everything into practise in India” (Chawla).

Upon her return, Sud dedicated herself to teaching at her alma mater, the College of Art in Delhi, specializing in printmaking until her retirement (“Anupam Sud”). Committed to her art practice, Sud has remained single, and after the passing of her parents lives with her brother and sister-in-law near Old Delhi. Her artwork gained international acclaim and found places in esteemed art collection worldwide, including The National Gallery of Modern Art in New Delhi, The Victoria and Albert Museum in London, The Peabody Museum in the USA, the Glenbarra Art Museum in Japan, etc (“B-1944 Anupam Sud”).

Sud’s artistic journey was profoundly shaped by various influences, one of the earliest being her familial upbringing. Her parents played an integral role in molding her artistic inclinations, such as her fathers passion for bodybuilding, Punjabi theatre, detective stories, and her mothers passion for classical music, cultural stories, and teachings found in the Upanishads, one of four genres of text that constitute sacred scriptures of most Hindu traditions (Olivelle).

“You always tend to carry your roots and culture with you. My work speaks of all that. Maybe that is why people term me a feminist because my work is fearless. I was brought up in a house that no concept of ‘feminism’ as we see it now, but all the same that allowed for men and women to be considered equal while also understanding and respecting their many differences” (Yadav).

CULTURE

Sud's art merges her personal experiences with mythology and religion, drawing from stories like the Ramayana and Bhagavad Gita that shaped her upbringing. Her creations blend historical, religious, and mythical elements with her memories and concerns, forming what she calls "images of dialogue." This unique style embodies diverse perspectives on the society she was raised in (eazel)

“Clothes lend human form an identity that is culture-specific. Skin is the ultimate cloth that God created. I would rather my figures be universal, sans any cultural or religious context (Singh).

Growing up in a Punjabi Hindu household, she was exposed to mythological tales, instilling within her a profound understanding of religious narratives. Her reinterpretation of mythology in her art, drawing inspiration from figures like Draupadi and Shakti, speaks to her belief in the freedom Hinduism provides to contemplate and draw inferences. While Sud, does not approach religious tales with overt devotion, she understands the spontaneous emergence of divinity in her work, recalling how the figure of Shiva materialized simply by putting color on paper. Sud states, “We do what we are,” while speaking of how she uses mythology, religion, and her personal life questions into her art:

“My grandmother, mother, and aunt all read the Ramayana and Bhagavad Gita when I was growing up. Morals such as ‘If you do bad, you will receive bitter’ shaped me into a product of questioning. I used to seek answers from my mother. She, at the time, read three versions of the Ramayana, explaining that each version had its flavor and asking me which version I wanted to hear. As a result, my conceptual horizons were broadened” (Roy)

GROUP 8

Under the tutelage of mentors like Somnath Hore and Jagmohan Chopra, Sud was offered immense support, and became the youngest member of Chopra’s association of printmakers called Group 8. Despite being the youngest member, Sud stressed the collective bond that erased age differences within the group, highlighting that artistic pursuits transcend age barriers (Nag).

“When you delve deeper into any type of art, you are either inspired by the idea or by the movement. So, when you want to achieve something, age becomes just a number.” (Roy).

Printmaking, made its way into India in 1556, but took a long time to be seen apart from a process to duplicate and reproduce. Group 8 emerged at a time when printmaking in India grappled with breaking free from conventional perceptions and gaining institutional recognition. Initially considered a means for reproduction, printmaking evolved into an institutional practice, prompting artists to explore its diverse dimensions beyond conventional thinking. The limitations faced post-college regarding access to printmaking facilities led to the groups formation, with the goal of providing a secure platform for artists to explore the potential of the printmaking medium (Nag). Under Chopra’s guidance, Group 8 embarked on a collective journey to raise awareness about printmaking's possibilities. Sud, echoing sentiments shared by printmaking students, highlighted the initial apprehensions about limited post-college pathways for their craft.

“Once one had graduated from college there was no place to do printmaking and this was at the back of our mind even when we were students. I distinctly remember speaking very disparagingly about printmaking the first time I went to the studio, voicing my fears about the uselessness of printmaking as an art pursuit. As a technologically mediated form of expression it requires huge initial expenses and it can never be a solitary purist like painting” (Roy) 

Group 8’s establishment served as a solution to these concerns, offering an environment for exploration, collaboration, and learning among artists. Not only did Group 8 facilitate access to printmaking facilities, they organized workshops and exhibitions to garner a wider audience, and even incorporated photography to diversify their endeavors and outreach, which displayed eminent photographers like Raugh Rai and Kishor Parekh. Notably, positive feedback and encouragement was received in their exhibitions by artists like Somnath Hore and Krishna Reddy especially at the very first exhibition by the group in 1969 New Delhi. The collective endeavor of the group and collaborative spirit culminated in the creation of new graphic workshops, marking a significant step towards a unified approach to printmaking.

THE HUMAN NUDE

One of the most prominent themes depicted in Sud’s work surrounds the exploration of the human form, particularly the naked body. Her work underscores the sensuality and inherent beauty of both human and animal forms, often portraying them in their natural, unadorned state, abstaining from clothing or accessories that might serve as identifiers linked to specific communities.  

“I love the sensuality of the body, whether animal or human. I like to show the beauty of god’s creations as they were made, so I avoid putting clothes on them. Another reason is that clothes can be modes of identifica­tion that mark a person as belonging to a certain community or country. I prefer to show humans in their natural form because my artistic concerns are universal. When people ask me why I make nudes, I respond saying because you are nude from within. I make god’s forms. If you only see the nakedness in my work, you are missing its real message.” (Chawla).

This deliberate choice to depict the human form in its nature state, aligns with her universal arctic concerns which emphasize the raw essence of humanity. As mentioned previously, her fascination within the human body finds its roots in her fathers background as a bodybuilder, influencing her depiction of physical perfection, devoid of embellishments such as jewels, clothing, or even genitalia. The detailed rendering of musculature, portrays athletic yet emotionally complex figures, as she uses the body to carry artistic investigations. Her portrayal of nude figures goes beyond mere physicality, delving into a juxtaposition of psychological imperfections and flawless physicality. Many of her works feature nude figures with shaven heads - which deliberately strips them of their physical masks. Sud explores the vulnerability found in these bare and exposed forms, revealing a sense of unease and confrontation. Additionally, her choice of figurative style, as opposed to more abstract compositions in her work is seen in her response:

“Why do artists choose a particular genre? It’s like asking a Sufi singer why he sings Sufi. Perhaps because it takes him closer to God. Maybe, for me, human form is the greatest creation of God.” (Singh).

Modernism in India, much like other places, was dominated by men. Sud's groundbreaking themes of male and female sexuality, feminist narratives, and scrutiny of contemporary societal values were radical for a female artist in the 1960s and 1970s (eazel). Her art features figures engaging in daily activities' amidst sexual ambiguity, hinting at profound understanding of gender dynamics (Choudhury). She acknowledges the discrepancies between perceived and genuine relationships, and how human interactions and obligations like marriage affect their dynamics.

She states, “There is always the relationship that we see and the one that really exists... These things happen between men and men and women and women as well as between men and women, although it is more common and interesting between men and women” (Stroh, "Imagery and metaphors"). 

While her work is abundant with female forms, Sud’s rejects labels that deem her a feminist.

““For me, the woman’s body is not only visual, but also my source of experiencing the world. I hate being called a feminist. I am an artist. I draw from those around me. Feminism has no bearing on my art. I don't want to be burdened by such labels. Why do you want to box me and my work? I create art for my own satisfaction. Many have tried to compartmentalize my art by saying that my work is socially committed. I disagree. If i were to commit myself socially, i would rather be a social worker and not an artist..." (Yadav).

In terms of her social activism she also rejects the label.

“Yes, women have a right to make choices and men can’t dictate their decisions. But my concern for women’s deprivation or other social issues does not mean I am a social activist. Were it so, I would forsake everything and dedicate myself to social welfare (Singh).

NATIONALISTIC SENTIMENTS

Sud’s deep-rooted cultural influences and nationalistic fervor stemming from her upbringing and the socio-political atmosphere, shapes her identity and her work. Born three years prior to India’s independence, she vividly recalls the nationalist atmosphere of the nations early days of freedom. Reflecting on her upbringing, Sud emphasizes her pride in being Indian and aligns herself with a nationalist sentiment (Chawla). She recounts her childhood experiences, highlighting her grandfather’s emphasis on enrolling in Indian schools that instilled nationalistic values and to distance herself from the British curriculum imposed by the colonial force.

“I grew up in an India that had newly gained freedom. Abiding with the times, my grandfather was keen that we children get enrolled in an ‘Indian’ school with nationalistic values and not be ‘convent-educated’ with emphasis on the British curriculum. Needless to say, this nationalistic streak has stayed with me. I’m a proud Indian and that is the feeling I carry with me all the time" (Yadav).

The artwork reflects the moment just before the ceremonial Agni Pradakshina, where the couple takes seven circles around the Sacred Fire, symbolizing eternal commitment. The bride's upward arm movement hints at placing a garland on the groom, a ritual preceding the Agni Pradakshina. Traditionally, after the seventh circle, the bride stands to the left of the groom, signifying her integral role in his life. However, the painting's arrangement depicts the bride on the right, emphasizing that it captures the moment just before this ritual takes place (Cultural India).

In contrast to Sud’s usual black-and-white style, color plays a pivotal role in this artwork, particularly in conveying the wedding scene's essence. The bride, adorned in traditional red attire and accessories, including bangles and earrings, is highlighted by a draped red chunni veiling her head, symbolizing her presence in the ritual space. This red cloth serves as a visual barrier between her and the groom, indicated by dark tones creating shadows around him, emphasizing a ceremonial unity but suggesting emotional distance. Sud employs bold, opaque brushstrokes for the man, emphasizing his skin tones, while using transparent strokes to depict the delicate draping of the bride's chunni, imparting a tactile quality to her presence.

Symbolism and metaphors play a profound role in this work. The masks behind the figures symbolizes the societal facade and obligations imposed on the two, alluding to the performative roles individuals adopt within the confines of marriage. The fact that the mask is situated on the side of the bride and not the groom indicates a heightened pressure to conform and disguise the turmoil that comes within the expected role. There is also the absence of the customary stain of mehndi that should be shown in intricate patterns on the brides hand. As a part of the pre-ritual event in Hindu and even Punjabi cultures, the bride gets her hands and feet adorned in beautiful patterns of mehndi. The ritual signifies fertility, love, and compassion, meant to offer the bride good luck as she begins her married life (Nowak). Mendi also has properties that are meant to give the bride good health such as regulate body temperature, reduce stress, and headaches, that may be more prevalent in the hectic and happy occasion (Dalal). The absence of this might imply defiance or disinterest in conforming to expectations of a bride or reluctance towards the marriage bond. These deliberate omissions hint at Sud’s commentary on how women are expected to conform and the agency of the individual. While they occupy the same space, the figures look indifferent to each other as their rigid forms and closed body language indicate no semblance of affection. Sud, having chosen not to marry and instead dedicate herself wholly to her art, leverages a subject that resonates deeply with her personal experiences. This deliberate choice enables her to delve into her own psyche and scrutinize the societal expectations imposed on her as a woman who defies traditional norms. By looking into the theme of marriage and relationships, Sud constructs a narrative that transcends conventional norms and allows her to examine the dichotomy between personal desires and societal pressures.

Additionally, the architectural elements within the composition refer to entry/exit points, contributing to the spatial complexity and illusionary effects of perspective. The space in the work adds a confined and expansive feeling at the same time reflecting the complexity of power dynamics as referenced to in the title of the work. The architectural elements might create a sense of enclosure, embolizing the limitations of societal structures, where as the abundant use of windows creates an openness which symbolizes the possibilities of placement within a societal structure. The doors, windows and niches also symbolize entry/exit points, creating the illusion of perspective and foreshortening. It may also refer to the autonomy or lack of that one might face in settings in which they are meant to conform to the status quo or behave a certain manner. The clean lines of the window forms allude to a element of photo-generated imagery, while the hand drawn forms accentuates the spatial tension, reinforcing a sense of isolation within a constructed environment.

Lastly, the restricted color palette predominantly composed of blue tones directs focus to the central figures, drawing attention to their contemplative state. The use of blue hues conveys a melancholic feeling and entrapment, possibly reflecting Sud’s critique of rigid societal roles and imbalanced power structures. The figures reflective state might symbolize a commentary on the burdens of conforming to expectations set by the surrounding community, leaving them in a state of introspection.

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Figure 2.“Partition of India Map.” JoeQuinn, 2017, joequinn.net/2017/09/22/the-rohingya-crisis-u-s-legacy-and-current-policy-in-southeast-asia/.

Figure 3. Sud, Anupam. “Untitled,” DAG, 1967, dagworld.com/dag000004063.html.

Figure 4. Sud, Anupam. Thanks-To-Power, 1976, www.knma.in/anupam-sud-between-vows-and-words/print.html.

Figure 5.Sud, Anupam. Dialogue II, 1984, dagworld.com/suda618.html.

Figure 6. Sud, Anupam . Persona, 1988, www.knma.in/anupam-sud-between-vows-and-words/print.html.

Figure 7. Sud Anupam. For an Apple Only..., 1989, jnaf.org/artist/anupam-sud/.

Figure 8. Sud, Anupam. Dialogue VIII, 1992, jnaf.org/artist/anupam-sud/.

Figure 9. Sud Aupam. The Odd One, 1994, jnaf.org/artist/anupam-sud/.

Figure 10. Sud Anupam. From the Niche, 1995, jnaf.org/artist/anupam-sud/.

Figure 11.Sud, Anupam. Between Vows and Words, 1995, dagworld.com/suda0648.html.

Figure 12. Sud, Anupam. Cupid Playing, 1996, jnaf.org/artist/anupam-sud/.

Figure 13. Sud, Anupam. Dining with Ego, 1999,jnaf.org/artist/anupam-sud/.