U.S.Sankar

BORN
1979 Jamalpur, Bihar

EDUCATION QUALIFICATIONS
2007 Bachelor of Fine Arts from College of Arts and Crafts, Patna
2009 Master of Fine Arts from Pracheen Kala Kendra, Chandigarh

SELECTED SOLO EXHIBITIONS
2008 Mistiq Art Gallery
2011 Urban Mirror Lalit Kala Akademi New Delhi
2012 Apparo Art Galleries, Chennai
2013 Apparo Art Galleries, The Lodhi Hotel, New Delhi
2016 Beyond Boundaries by Apparao Art Gallery
2021 Crossing Over Solo exhibition presented by Apparo Art Gallery
2022, 2023 Project To @Magnolias artspace

TWO MEN EXHIBITIONS
2011 Lalit Kala Akademi, New Delhi
2007 Patna Art and Craft Collage

SELECTED GROUP EXHIBITIONS
2004 Kala Mela, Varanasi.
2003, 2004 Nandlal Basu Kala Dirgha, Patna.
2006 Virgo Art Gallery, Lucknow.
2006 College of Arts & Crafts, Patna.
2008 The Art People, Travancore Art Gallery, New Delhi.
2008 Fusion Group Exhibition by Artlinks, Gurgaon.
2008 Travanecore Art Gallery, New Delhi.
2008 ARTWORLD, Chennai.
2009 Indo-British Art Foundation Exhibition, United Kingdom.
2009 Travanecore Art Gallery, New Delhi.
2010 Lalit Kala Akademi, New Delhi.
2010 Apparao Art Gallery, Chennai.
2010 Art Alive Gallery, New Delhi, Turn The Tables.
2010 Lalit Kala Akademi, New Delhi.
2010 Apparao Art Gallery, Chennai Group Show, New Delhi.
2010 Lalit Kala Akademi, New Delhi.
2010 Shridharni Art Gallery, New Delhi.
2012 Hotel Surya, New Delhi.
2013 Art on The Move, organized by Apparao Galleries, The Lodhi Hotel, New Delhi.
2013, 2014 Nvya Galleries (Within Reach IV Summer Show).
2013 Hidden History of Geography, organized by Apparao Galleries and Manave Agrawal, The Lodhi Hotel, New Delhi.
2013 Art for Life - lll, organized by Aapsa Art Present, Lalit Kala Akademi, New Delhi.
2013 Art on the Move, Apparao Art Gallery, Lodhi Hotel.
2014 Apparao Art Gallery at Lila Palace Chennai.
2014 Art Positive Gallery presented the exhibition in Art Spotting Group in New Delhi.
2015 Alliance Frances, New Delhi.
2016 Strength to Strength, Apparao Art Gallery, Lodhi Hotel.
2017 Gallery Sree Mediating Dreams, a visual arts gallery, New Delhi.
2017 MOMUS, Greece, presented by Gallery Onkafs, New Delhi.
2020 TAP India Crossing Over Art Show, presented at Apparo Art Gallery.
2020 Beyond presents Gallery 1000
2022 Let's get Phygital Trinity Art Gallery Mumbai.
2022 Shailjas Studio.
2022 Gandhi o Gandhi ka India. Department of Financial Management, New Delhi.
2022 Trinity Art Gallery, Mumbai.
2022 Gallery Pioneer presents a panoramic view of Bihar.
2022 Under the White Sky Arpana Kaur Gallery.
2022 Shailjas Studio SPECTRUM.
2022 Vayam Navam organized by Aapsa Art and Shailjas Studio.

WORKSHOPS
2004 Centre for Social Development and Studies (C.S.D.S) Painting.
2006 11th Youth Festival, Patna.
2006 Variation, Painting Workshop & Exhibition, State Art Gallery, Hyderabad.
2007 Variation, Exhibition & Workshop, College of Arts & Crafts, Patna.
2007 Variation, Exhibition & Workshop, Lalit Kala Academy, Chennai.
2008 Organized by Krishna Art Collection, Hotel Janpath, New Delhi.
2008, 2009 Indo British Art Foundation Camp, Patna.
2008 Khushi N.G.O., New Delhi, French Embassy.
2009 Lalit Kala Academy Orisha Art Camp.
2010 Lalit Kala Akademi Art Camp, Udaipur.
2010 Lalit Kala Akademi Art Camp, Tripura.
2011 Lalit Kala Akademi New Media Art Camp, Silchar University.
2012 Lalit Kala Akademi Shilong Art Camp.
2012 Lalit Kala Akademi & ICCR Patna.
2019 Mid Career Artists Camp Patna.
2021 Yamuna Utsav New Delhi Presented Gallery Sree.
2022 Embassy of the Republic of Slovenia New Delhi Gallery Sree.

PARTICIPATIONS
2003 A.I.F.C.S. State Level.
2004 Youth Convention, Patna Women College.
2004 Camlin Art Foundation East Zone.
2002 Annual College Exhibition.
2005 Kalankan Prayaas, Dhanbad.
2006 Golden Brush Kolkata.
2008 Camlin Art Foundation North Zone.
2009 Dhoomimal Art Gallery, New Delhi.

HONORS AND AWARD
2004, 2nd Award. Red Cross Society, South Korea, International Poster Competition.
2004, 1st Award. Bihar State Pollution Control Board, Patna.
2005, 2nd Award. National Poster Competition, Mumbai.

ABOUT THE ARTIST

My canvases present a concrete vision of urbanity synchronized with the nuances of rural life. They speak affirmatively of the spontaneous and restless acts of migrant laborers. The images also tend to reflect the rigidity and flexibility of urban-rural life suggested through the abstract constructive forms. The street lights, the zebra, the crosswalk, etc. act as a metaphor for that urban rigidity as opposed to the plow, which is seen mostly in my earlier paintings as a central object or platform that projects the concept of nothing in everything. Here I quoted nothing in everything, to emphasize the very nature of man's vast expectation that he runs after everything, and when he gets everything, he is satisfied with nothing.

As an artist, I have chosen this topic as a theme to reveal my artistic emotions, because I too am a man of blood and ostentation and, like any other individual, I have also been a victim of so-called expectations. Moreover, I come from a family of farmers and then came to this city as a migrant with eyes full of desires. Therefore, when I see the numbers wandering around the roads, stations, buses, etc., I am amazed thinking about the degree of expectations they have and to what extent they will be fulfilled.

That is why I often try to communicate this flavor of an endless search to my audience, physically or virtually. In my installation work Expecting the Expectation, I made one such attempt to make anyone understand the delimiting attitude of the term expectation itself.

In Look- Inside Outside, I used the smoke flames on the window glass to create a dreamlike, cloudy atmosphere, from which various interesting shapes merged which seemed to fascinate me for a while longer. During my childhood, when I used to sit down to have lunch, I would most often see an airplane flying outside in the sky through the kitchen window. The most interesting thing was that that window was opposite the clay chimney, so the airplane appeared to me sometimes among the clouds and sometimes against the smoky flames of the chimney. This put me in a very difficult situation and I wondered what data related to its mechanism, who was sitting there, where they were going, how they felt when they crossed the clouds, whether I could ever sit there or whether what I was seeing was nothing more than a toy in my game.

Once again, in The Blackest Air, I tried to express my regret that human civilization has endowed nature with everywhere polluted air, which is a definition of the vast expectations of men.

In Towards Death or Birth, I have shown several scenes depicting a hut on fire, and the different stages of the process until it turns into ashes. In this work, I simply tried to pose a question in the minds of my viewers: Is this the beginning or the end.

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