Birds, I consider as my soul; they inspire me to be free and scale heights. Birds can’t be caged; the same is true for women who can’t be bound within four walls.
My art aims to inspire freedom, to portray that women’s thoughts should be free, to understand them and support them,” says Indu Tripathy, a seasoned artist with a career spanning over 40 years. Her latest exhibition, titled ‘Magical Realism,’ was recently on display at Delhi’s Triveni Gallery.
Her art, rooted in personal experiences, draws heavily on symbolism, where birds become metaphors for the lives of women—always active, always in motion, and seeking freedom.
‘Even a finger expresses’
Born in Varanasi, raised in Agra, and now based in Delhi, Tripathy’s artistic practice is deeply rooted in her cultural experiences. Her figures exude grace and strength, embodying her fascination with delicate gestures. “Our hands speak; they tell much about what we are trying to convey. Even if you look at old paintings like Ajanta Ellora, fingers speak. It’s not necessarily the face that holds all the emotions — even a finger can tell a story,” she says, emphasising the significance of subtle expressions in her art. The hues are warm, drawing the viewer into a dreamlike state that juxtaposes tranquillity with the energy of motion.
She is particularly interested in adorning her figures with intricate details on textiles. “All the textiles and prints I drape my characters with have complex characteristics, and they are the most appreciated by people. With their richness, these patterns bring my figures to life, adding layers to their personalities,” Tripathy explains.
A Sher-Gil fascination
A striking theme in Tripathy’s work is the exploration of the societal gaze that constantly observes and judges women. “A lot of these works have a character who is peeping, not fully revealed, usually a male figure. It captures the male gaze — how people don’t let a woman live on her own, how she is always under the scrutiny of society,” she shares. Her art isn’t confined to a single dimension of womanhood. She subtly touches upon themes like love, sensuality, and companionship, which are rarely openly discussed. “In one of the artworks, I’ve depicted a swan as a lover. A woman also needs sex, just like everyone else. The male swan symbolises that desire, and the woman is conversing with it,” she points out.
Having encountered Amrita Sher-Gil’s work in her childhood, Tripathy connects her pursuit of female experience with a deep admiration for Sher-Gil. She recalls, “My father used to bring home paintings of artists. He was very strict, but I would steal glances at those works. I remember being fascinated by Amrita Sher-Gil. The moment I saw her work, I went crazy. I wanted to make something like that when I grew up,”
Her connection to art began early, influenced by her father’s involvement with Bharat Kala Bhavan in Varanasi. This early exposure to art stayed with her throughout her life.
Her studio, located in the East of Kailash Garhi studios, remains her sanctuary of creativity. “My studio is in Garhi, where there are a lot of artists, even those from institutions like IIT. We have a space for dialogue. We work, have tea breaks, discuss our paintings,” she shares. “I also work at home. All these paintings are made there. I keep drawing in my sketchbook, and whatever strikes me the most, I develop it further on the canvas.”
Too idealistic?
Despite the charm and elegance of her aesthetic, there are aspects of Tripathy’s work that invite critical reflection. In a contemporary art landscape that increasingly values critical engagement with social and political themes, her focus on beauty and idealism might seem somewhat disengaged from the pressing issues of our time. Her portrayal of women often leans into a romanticised vision adorned with symbols of nature and harmony. While this approach creates a soothing visual experience, it can be alienating and feel disconnected from the complexities and harsher realities of contemporary womanhood.
The women in her paintings, though imbued with strength, are frequently depicted in serene, almost ethereal poses, which may risk reducing their narratives to a singular, mythical dimension.
Yet, this critique should not overshadow the emotional resonance of her paintings. Her ability to capture “a search for satisfaction, a search that never ends for a woman” speaks to a timeless exploration of inner peace amidst life’s tumult. “Even today, at 60, I can’t stop painting. Even if I am reborn in another life, I would still want to be an artist. I can’t live without this work. Sometimes, we have fights at home when my husband teasingly says, ‘Leave this art-wart, now take care of the household!’ But I can’t do that; my art is my life,” she concludes, affirming her undying passion for painting.