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Page Updated- Figurative and studies November 27, 2022

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Texture of the Himalaya : Autumn Further exploration of  the notion of embodiment and the sensory dimensions of materials and sites. https://asmitasarkar.wordpress.com/figuratives/

The Uncanny shop new update June 30, 2019

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To see details of the project click     https://asmitasarkar.wordpress.com/gallery-3-installation-views/      new updates   gallery 3; installation views

The Light Inside https://asmitasarkar.wordpress.com/gallery-3-installation-views/ January 29, 2019

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invite shanthiroad compressed (more…)

New Updates August 6, 2018

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Gallery 1; figurative and studies

gallery 3; installation views

Project in G.159 March 13, 2016

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‘The thin line’ by Asmita Sarkar – a show of painting as installation and painterly installation exploring the thin line separating what threatens and what pleases our senses. With friendly help from Nihaal Faizal. 

 – 8 March 2016
gallery timings : 4pm – 8pm or by appointment
G.159, 2nd floor, House No. 159,
SFS 208 colony, Yelahanka New Town

Art Workshop in Chetla Government Home— July 25, 2013

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A Report Supported by Peace-work; an initiative of the seagull foundation of the arts.


In my art work-shops I had some specific aims. I have been interacting with these kids for some time. They are very achievement oriented and look for approval. Some of them have approached me on their own, and shown me their art works,. Some of those are very conventional and rigid but some are drawn from imagination and very creatively done. In my workshop I just wanted to show them that there is more to making art than copying and depicting objects. So I got some crayons and paper and thought about asking them to draw something abstract. Then one kid came up and showed me a poem that he composed. It was wonderful, rhythmic and matured beyond his years. It was about monsoon rain. (Translation will not do justice to the poem, so I put up his hand written version). I asked the kids to draw monsoon rain and cloud. I myself stated to draw cloud and rain, with chalk.        


.I told them to forget all the pictures they have seen before and asked them to draw how does cloud and rain feel like. I encouraged them to use different colours in cloud, to experiment and to play with the process of mark making. Which they did and I can see that some of them opening up and moving the crayons freely.       


     I had, in an earlier session, related Hans Christian Anderson’s ‘Little Mermaid’ and the Greek myth called ‘Icarus’s Flight’. The two paintings were exquisitely done—they were emotive and vivacious. These paintings filled my heart with happiness as I realized that without being asked he had illustrated the stories I had told him


little mermaid

A few days later I got the chance to take a few more art sessions. This time is we were to colour cardboard boxes with acrylic paint, markers and crayon. We had to make them look pretty because they are to be used as container for game tools and storybooks. I showed them what to draw and where to draw. They carried on and kept inventing new patterns and using the colours and materials in different ways. I joined in and gave them some instruction and also the freedom to be spontaneous and having fun.

Collective Memory and Cathartic gestures:- a collaborative exhibition between two young artist Asmita Sarkar and Katarina Chomova February 11, 2012

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For this show Katarina,[originally from Czech Republic, her paintings has its subject matter in Chernobyl] has stated that childhood memory and memory of the home is the driving force of her work. The aftermath of a tragedy has emigrated into her painterly gesture and mark making.  Katharina’s works are subtle and are not overtly resonating with the dark theme.

        In contemporary art theories the gesture of mark-making has been dealt seriously. According to some prominent theorists compulsive mark making indicates a ‘…loss of something that has never been’. Making a mark has been compared to combating with loss and displacement.

While I created installation drawings of ‘creepy crawls’, flowers depicting blood, bruises and pain which are inspired by cultural memories of India. Making mark has been compared to combating with loss and displacement. My work deals with a romantic vision of ‘.A loss of something that has never been’. Essence of Baudelaire find it’s visual equivalence in vermilion, henna and Japanese water-colour technique. Mythical beautiful Orient reveals it-self in pretty patterns written in blood. I used decorative patterns from Bengal, far-eastern water-colour techniques to create a surreal and poetic narrative of pleasure and pain

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CV and Statement September 14, 2011

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Asmita Sarkar e-mail- asmitasarkar39@yahoo.co.uk I try to capture cultural alienation and root-less experience through my drawing gesture. My ultimate aim is to make images that appropriate different cultural influences but ultimately produces transcending and universal forms. Concentrating on the drawings, I am creating a series of figurative and surrealistic paintings which are fraught with expressionistic quality. ].  I call them Creepy crawlers. They are deconstructed faces and figurative, narrating the world of internal bodily experiences. But the meaning of these drawings is plural. They can be biological patterns interacting with man-made industrial structures and environments Currently I am in the process of making conceptual painting using repetitive motifs like ‘ creepy crawlers’ . They don’t stay in the restraint of canvass space but spill over into other surfaces like galley walls, floor, and found objects. I use different materials like ceramic, cloth, un-even cement walls, plinth as surface and do sight specific drawings. Some-times I use transient light as part of my installation drawings.  Contrasting geometric and organic patters, eastern and western tradition in mark making and representation also form part of my practice. Education

  • Bachelor in arts(psychology, history/English literature)
  • Master in Experiemental/ cognitive Psychology from University of Calcutta
  • Master in Fine Arts from Robert Gordon University, Scotland 2010 [ recipient of Saltaire Scholarship]

           Academic research;- I like to complement my art-work with academic research and writting. My research is culture comparative and it touches areas of social and biological sciences.  


  •  2011 ;Paper Presentation in Extremity and excess conference; University of Salford.  8/9 September 2011  title of the paper; Excess of Expression in 20th century visual art; the norm and the anomaly. .

             2012 ; Peer reviewed Publication on the theme Mapping and Memory in ‘ Tracey; Drawing and Visualization research journal’ http://www.lboro.ac.uk/microsites/sota/tracey/journal/mam/sarkar.html


a look inside; solo show in Fyvie April 9, 2011

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a look inside your mind…...

Fyvie is a typical north east village in Scotland. Where a couple liked my work and invited me to exhibit in their family owned shop/gallery. The particular space and the warmth of these two interesting people has had a very positive effect on my works…

Roots in our mind January 4, 2011

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Lack of a studio space. I have started to paint in my apartment. And when I wake up in the morning my works stare at me. The feeling of which is very difficult to describe as pleasant or unpleasant. The experience of seeing  your own nervous system stretched across a canvas;  is surreal indeed.  They are not the paintings of mutilated bodies, guts or blood-veins. I am   trying to dissect the inside of my head as a piece of living breathing experience. The representation of which can only be through strokes and lines. they grow and grow more of my creepy crawlers…