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.
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.
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.
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.
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.
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