Artist Name:
Indrapramit Roy

Reference Number:
54

Born at Calcutta. He studied printmaking (BFA) at the Visva-Bharati University of Santiniketan and painting (MFA) at the Faculty of Fine Arts of M.S. University of Baroda, India. Subsequently studied MA Painting (11990-92) at the Royal College of Art, London, which also included a term each at Cite des Arts, Paris and Hochschule der Kunst, Berlin.

Indrapramit has shown extensively in Delhi, Bombay, Calcutta, Bangalore and Chennai in group and solo shows. He has had 14 solo shows to his credit. His last three solo shows were in Usdan Gallery, Bennington, VT and The University of the Arts, Philadelphia in 2004-05 and Anant Art Gallery, New Delhi in 20Q6. He has taken part in Group shows in London, Berlin, New York, Melbourne and Yangon and has represented India in Asian Art Exhibition in Macao and the Cairo Biennale, Cairo.

Indrapramit is the recipient of Kanoria Centre Fellowship (11989), Inlaks fellowship (1990-92) to study at RCA, London, junior Research Fellowship (1993-95) from the Government of India and most recently the Fulbright fellowship (2004-5) for six months to the USA.

Indrapramit also designs books for children and young adults. His most recent illustrations include 'Antigone', 'King Oedipus', 'Bacchae' and 'Hippolytus': four retellings of Greek tragedies for the Getty Museum, Los Angeles. 'Antigone' won the best book design award in New York book fair, 2002 and 'Bacchae' got the Association of American Museum Publishers' Award in 2005.

Indrapramit's other interests include stage design. He has designed for the oldest non-profit theatre in India and also for the World Social forum held at 2004 Bombay. He has been teaching painting at his alma mater MSU of Baroda since 1995.

Statement

These works are part of a much larger on going project that deals primarily with spaces with very strong human associations but no human presence. A desire to simply document spaces experienced, lived-in or objects seen, possessed, touched. But painting intervenes and nothing remains a mere documentation, things happen while working on them.

There are certain images that persistently demands release from the confines of the mind and leave their marks. These invisible marks span the whole gamut, from the formal to the sentimental: deeply melancholic and yet strangely celebratory.

They work both ways, consigning things to the memory and also becoming constructs of the memory.