Priti Samyukta

Priti’s works emerge as chronicles of her life, family and neighboring world echoing intransigent social norms and the multifaceted roles of women. She consciously renders her muffled spaces with flora and fauna as she believes that women are always strongly associated with design and decoration. Hence the self portraits show dissimilar attires with fashionable hair dresses and with meticulously painted floral designs all over the canvas. In an unfussy engagement with her work, one can see a kind of disinterestedness in exercising profligacy of imagery other than the crawly creepy floral motifs as apparent in her small scale work mostly done in ink using masses of lines and cross hatchings. By doing so, Priti gives an utmost attention to the expressions of the portraits which evoke a sort of narcissism occupying the entire surface. The self depictions redefine femininity bringing everything into the space with inquisitiveness. Her ‘persistence of memory’ is deciphered deliberately within the contours of the image and the imagery that is derived from her house-hold things such as old pillow covers. Her nostalgic opus inspired from oriental zest against a multi-layered back ground, sings the lullaby of the past and the celebration of present as she affirms, ‘journey is more important than the destination’.

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