Subrata Biswas

BORN
August 1964

EDUCATION QUALIFICATIONS
1989 BFA in Painting from the Government College of Arts and Craft, Calcutta University

SELECTED SOLO EXHIBITIONS
2008 Taj Bengal Hotel, Calcutta

SELECTED GROUP EXHIBITIONS
1988 Oriental Art Society, Calcutta
1988 DumDum Airport Youth Art Competition
1987 Academy of Fine Arts, Calcutta
2008 Academy of Fine Arts, Calcutta
2008 Chamold Art Gallery, Calcutta

PARTICIPATIONS
2004 9th National Youth Festival, Ministry of Youth Affairs, Jharkhand, India.

HONORS AND AWARD
1988-89 Certificate of Merit for Outstanding Work from the Government College of Arts and Crafts, University of Calcutta.
1989-90 Awards for Outstanding Work from the Government College of Arts and Crafts, University of Calcutta.
1990 Best Oil Painting at the Shibsankar Jew Krishikala Exhibition in Srirampur.

ABOUT THE ARTIST

Fashion has been an integral part of human life since the beginning of history. It has taken many years to develop. However, different eras and different classes of people have produced fashions according to the needs of life. Primitive people understood fashion in the sense of what they could do in an indigenous way. This tradition later merged with folk and tribal life.

Culture expresses the historical experience of a community. Once community art focuses on the concept, we can learn as much as possible about it.

Therefore, in my opinion, it is valid to support the concept of color in painting to broaden our understanding of this particular subject in human life. It gives me some perspective when it comes to the way I see the world and the way other people see my art.

The key idea is colors and the pain of our everyday life. We live in a society of spectacles. Some say that a work of art is not reality. But, I think art is a very important part of reality. How can we see the invisible? How can we look at a space and bring it to life? Cultural professionals forget about everyday life, but it is essential and urgent to think about their role in society. How can artists find their way into everyday life and experiment? I understand the Indian intellectual tradition in this way.

The social impact of my art in 2012 reveals the interior of the human body through the vents and openings of the constructed body. But the interior speaks more about the pain and suffering not only of the body but also refers to the larger world society. My works follow a geometrically calculated internal structure similar to drawing and painting. Although my subject matter speaks of the deep physical and mental pain of the body and mind, my technique of constructing the subject matter in expression and emotional charge is more mathematical and calculated.

I feel that science and technology have added a new dimension to our act of seeing. They have enriched our vision and become a more visual reality. The media has made this possible. Every cultural transition leads to a new level of consciousness, a new kind of thinking to meet new needs or to address new audiences. For me, art is not an instrument to shape society. Many who see art as a vehicle for social change or reform might affirm this opinion. I see no other purpose than its creative instinct. What purpose is latent in the blooming of a flower? Did Picasso's Guernica bring peace to the world

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