“Arpita Singh has pushed the visual lexicon of the middle-aged woman further than almost any other woman artist. The anomaly between the aging body and the residue of desire, between the ordinary and the divine and the threat of the violent fluxes of the impinging external world gives her work its piquancy and edge. At the same time she critiques the miasma of urban Indian life with suggestive symbols of violence that impinge on the sphere of the private, creating an edgy uncertainty.” – Gayatri Sinha
Born in West Bengal in 1937, she had her art education at the School of Art, Delhi, and the Delhi polytechnic, 1954-59. Since the beginning of her career Arpita has been assiduously learning the craft of painting in rhythm with her absorption of modernist reductionism. Her native paintings are unlaboured and particularly piquant in their comments of the ‘space’ of women and girl child in the society, and on the atrophied sensibilities of modern man vis-à-vis the growing violence and social injustice. Arpita literally ‘builds up’ the painted surface, with the same patient faculty both in oil and watercolour. The surface tension created by the short, overlapping patches of pigments and tones is often transmitted to the surreal surprise which arise out of the continuous synchronicity of domestic objects and lower vase and aeroplane, guns, soldiers and killers hidden behind bushes in a park and men and women oblivious of corpses strewn around. She thinks with her paintings.
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