Suktisubhra Pradhan’s world is a world of tranquil melody. She extracts the ideal out of the flowing reality and transforms it into her forms. In this sense her works emanate a kind of classical sensibility. Her search is for a serene beauty not always very easily available within our mundane existence. Yet it cannot be termed as classical in its true sense. She has her confusion about the existence of any unquestionable divine beyond this world. She does not like to objectify beauty like the classicists. Rather she tries to infuse her ‘self’ within her creations, which are mostly the expressions of her subjective contemplation. She bows neither to heaven nor to earth. Her search appears to be for a light that never was in heaven or earth. In this sense her expressions often touch the boundaries of romanticism.
Here is the dichotomy. A contradiction crops up. The classicism intrudes into the boundaries of romantic rebellion. The romantic questions the classicist vision. For proper appreciation of her painting this contradiction needs to be resolved. She creates a gray area. While striving for an ideal beauty, she breaks the set norms of idealism, infuses it with her subjectivism, but that also very often gets shattered and merges into the divine. This continuous shift from one premise to the other defying any fixed set of aestheticism unfolds a modernistic approach very unique and original in the contemporary field. Truly speaking, Sukti Subhra is a painter of the nature. She does not reproduce landscape in its naturalistic truth. Rather she creates ‘nature’. In her landscapes too the dichotomy of the ideal and the real, and that of the classic and the romantic is revealed in a greater degree.
Ms. Pradhan shows the best of her creative potential in her landscapes. She absorbs the essential elements of the eastern trends of landscape painting, specially the characteristics of the Indian miniatures and also the innovations of the pioneers of the neo-Indian school up to the essences of Gopal Ghosh and transforms all these elements into her own. In this process of transformation she posits her own sensibility, her own love for the beauty of this world and life. This enthralling love is transformed into her own creativity. Her world is the world of a woman, especially of an Indian woman who looks at and realizes the world in the light of her own love and compassion of a life generating being. The presence of male persona is very rare in her creative field. Man appears mostly through the relation of love of the woman, as the fulfillment of the woman. Otherwise the woman dominates both in personal presence and ideological gestures. Probably she is not a feminist, but she successfully inherits the trends of woman’s world set by the pioneering woman artists of Bengal like Sunayani Devi and Meera Mukherjee.
Sukti Subhra was born in 1947 at Howrah of West Bengal. She had an inclination for art since her childhood, which brought her to the Government College of Art and Craft at Kolkata in 1964. She completed the course in 1969 with honor. She preferred Indian style of painting. Since 1916 in this art school / college the curriculum of education in painting has been divided into two streams, the western style and the Indian style. This was the outcome of the dominance of neo-Indian school of art practices in the early years of twentieth century. Sukti Subhra thinks herself fortunate to have Chintamony Kar, the famous sculptor and also the important painter of neo-Indian style, a direct disciple of Kshitindranath Majumder at the school of Indian Society of Oriental Art, as her teacher in the art college. Kar was the principal of the art college, but took classes in Indian Painting only during those years when she was a student there. She also got Maniklal banerjee, Dhirendraath Brahma , Indu Rakshit as her mentors. Haren Das taught her graphics.
She was induced to the neo-Indian style by all these pioneering artists. She absorbed all their lessons and also the trends prevailing in history and gradually formed her own style where very little of her mentors and predecessors can be detected. She is working as a member of the faculty in the same art institution and has established herself as a very importrant painter in the contemporary field. What is unique about her, as we have already traced above, is her originality of expression. She has been able to build up her own form on the basis of indigenous traditions but without linking herself with any existing style. Neo-Indian style was a very important movement in building up an identity of our modernity. The essence of it has been absorbed in various ways in the later trends of our modernity. This assimilation has made our modernity rooted to our own soil and existence. Sukti Subhra has based herself in the essential features of the experimentations with eastern idioms, but has been able to overcome its manneristic trends. She has expanded it. The local has been transformed into a global vision through her practice during the last three and half decades. Her works included in this album amply exemplify her originality of vision.
1970 - Exhibited Graphic in JUBA UTSAV, Lenin Centenary Year.
1976,80,84 - Inter Graphik, GDR.
1988 to \'93 - Sri Aurobindo Institute of Culture, Kolkata.
1979,89,93,94,95 - Indian Society of Oriental Art, Calcutta.
1990 - Taj Bengal, Kolkata.
1993 - Gallery BF - 14, Saltlake, Kolkata.
1989 to \'98 - 1988 Committee of the Teachers of the Govt. College of Art & Craft, Calcutta.
1994 to 2005 - La Mere Art Gallery, Kolkata
1994 - Regional Lalit Kala Academy. Participated in the Exhibition of Rajya Charukala Parshad.
1996 - HARMONY SHOW Jehangir Art Gallery, Mumbai.
2004, 2005 - Teachers of the Govt. College of Art & Craft, Calcutta at Jehangir Art Gallery, Mumbai,
2006 – Yesterday, Today and Tomorrow exhibition inaugurated by The Honourable Speaker of Lok Shava Sri Somnath Chatterjee, Sponsored by The Times of India at the premises of Govt. College of Art & Craft.
2006 – \"Tradition and Continuity in Bengal School of Painting\" By The Ramkrishna Mission Institute of Culture, Kolkata.
1971 - Information Centre, Calcutta.
1974 to \'78 - Sri Aurobindo Bhavan, Lakshmi House, Kolkata.
1986 - Sri Aurobindo Institute, Calcutta.
1993 - Jehangir Art Gallery, Mumbai.
1994 - Indian Society of Oriental Art, Kolkata.
1996, 2000,2004 - Birla Academy of Art & Culture, Kolkata.
2005 – Gorky Sadan, Kolkata.
Certificate of Merit in Annual Exhibitions of Government College of Art & Craft