Untitled, 1975 | Ink, pastel and graphite on paper | 13″ x 17″ (detail)
Arpita Singh has long been celebrated for her figurative paintings - vibrantly colorful and iconographically dense, these works folding together time, personal memories and shared histories, lived and imagined, draw on the expressiveness of the line and textures evolved and developed during the period 1973-82. The predominantly abstract compositions of this period, principally reliant on line and primarily monochromatic—lay the formal foundations of Singh’s oeuvre and create an aesthetic bridge to her later and better-known works. It reveals both a serious curiosity about line, depth and space, and a playful improvisation—a willingness to suspend certainty in the search for new. These tendencies continue into and indeed sustain Singh’s till today. Singular in their allusion to contemporary life, Singh’s works forge a unique visual vocabulary and narrative sensibility that have had major influence on the generations of artists who have followed her.
“Images in which the comic and the tragic seem interchangeable, are characteristic of work that has made Ms. Singh one of the best-known contemporary artists in India. They are also evidence of an art gradually darkening in tone and lightening in form, a rewarding way to go in this remarkable painter's hands.”
The New York Times
A dreamlike logic liberates familiar, everyday objects from the rules of reality, transforming them into symbols which evade interpretation... Arpita Singh’s paintings further capture the tenuous line separating an ever-shifting landscape and the sanctum of home. They consider whether the home can remain a refuge, immune from the surrounding disturbances, the landscapes in motion. Collectively, however, these works demonstrate that life must continue despite and within these contested terrains.
Shanay Jhaveri
Much of Arpita's work, world, and ideology is
history compressed into fables and allegories;
what we witness are diverse imaginaries.
Geeta Kapur
Look for secret trapdoors and open sesame codes if you like, but mind you, if you begin to think the meaning is more important than the game or that the ultimate answer is round the next bend and yours for the finding, you may well trip up. An entry may mean a maze or a cul-de-sac. Many beginnings and no end.
Nilima Sheikh
“All works of art, whether it is a book, a song or a painting, are mirrors. In a way, the artist shows you the mirror and you see yourself in it.”
Arpita Singh
The rhythms of repetition form structure and continuity within her paintings and between them.
Deepak Ananth
Singh’s recent paintings with their birds eye view could be apprehended as a response to and even shaped by the rise of the internet and the globalisation that has taken place in the first two decades of the 21st century. What she seems to be aiming for like fellow painters Julie Mehretu and Mark Bradford is to make visible through her cartographic depictions what remains unseen—certain power structures and apparatuses that are guiding and shaping the existing order of the world.
Shanay Jhaveri
"They have the personal modesty of notebook entries in which recurrent dreams are jotted down..."
THE NEW YORK TIMES
"Arpita Singh achieves a richness in suggestion through the repetition of images as multiple reflections or as a system of inner rhymes so the self-same motifs in different positions or different relationships take on a different connotation..."
EBRAHIM ALKAZI
“Singh, who thinks of herself as a detached observer of the grand spectacle of life has shown in her art a driving urge to understand reality and the intangible rhythms that lie behind giving it shape and substance.”
ELLA DATTA
"Sometimes stained or slightly battered, the drawings show their age proudly. This is art, after all, that survived the intensity of its own turbulent making."
BARRY SCHWABSKY
“...intense, colourful figurative paintings feel like a glimpse of interior life, of emotion and trauma.”
THE GUARDIAN
Untitled, 1980 | Poster paint on paper | 22.5″ x 26.75″ (detail)
Always remaining attentive and focused, the artist works her way across the paper, line by line, and dot by dot. The drawings are her way of marking and shaping time….There is something relentless about the way she goes at it — mark-making without devolving into a signature gesture or flourish. One feels that she continually refuses the comforts provided by a style. The results are astonishing.
John Yau, Hyperallergic
Arpita Singh was born in 1937 in West Bengal, India, and moved with her family to New Delhi in 1946, where she has since lived and worked. She attended the School of Art, Delhi Polytechnic, graduating in 1959. Singh is regarded as one of the pioneering artists of post-independence India, with a practice spanning more than seven decades. Her paintings bring together figuration, abstraction, and elements drawn from Bengali folk traditions and Indian stories, creating richly layered visual narratives. Her work explores the intersections of personal memory and lived experience with broader histories of social upheaval, gender, violence, and political change.
Singh’s work has been the subject of major institutional exhibitions in India and internationally. In 2025, The Serpentine Galleries, London, presented Remembering, Singh’s first institutional solo exhibition outside India and in 2019, The Kiran Nadar Museum of Art (KNMA) New Delhi, presented Submergence: In the Midst of Here and There, a retrospective spanning six decades.
Singh’s works have also been exhibited at The Barbican, London; M+ Museum, Hong Kong; Centre Pompidou, Paris; Guggenheim Bilbao; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum of Fine Arts, Boston; Mori Art Museum, Tokyo; Fukuoka Asian Art Museum; Modern Art Museum of Fort Worth; Peabody Essex Museum; Royal Academy of Arts, London; Asia Society, New York; and the Art Gallery of New South Wales, Sydney, among others. She has participated in international biennials including the Gwangju Biennale, Asia Society Triennial, Havana Biennial, and Triennale-India. Singh was awarded the Padma Bhushan in 2011 and received a fellowship from the Lalit Kala Akademi, New Delhi, in 2014.
Arpita Singh lives and works in New Delhi, India.