Anvita Jain

Profile  |  Artworks  |  Exhibitions  |  Network  |  Awards
Rise & Fall, Rise & Fall, 2012 Wallpaper And Drawings 10' X 12' © Anvita Jain
Intestinal Levels of Hell, 2012 India Ink On Paper 22" X 30" © Anvita Jain
Totem, 2012 India Ink On Paper 10" X 30" © Anvita Jain
Smoker, 2012 India Ink On Paper 12.75" X 19.5" © Anvita Jain
Cycle, 2012 India Ink On Paper 15.25" X 22" © Anvita Jain
Graden Bench, 2012 India Ink On Paper 16.5" X 20.5" © Anvita Jain
Cityscape, 2012 India Ink On Paper 14.75" X 19.5" © Anvita Jain
Pyjama Party, 2012 India Ink On Paper 10" X 27" © Anvita Jain
Cherries, 2012 India Ink On Paper 9.25" X 9.75" © Anvita Jain
Shoe spit, 2012 India Ink On Paper 13" X 17" © Anvita Jain
Ice Cream cone, 2012 India Ink On Paper 8" X 9.5" © Anvita Jain
69, 2012 India Ink On Paper 10.5" X 12.5 © Anvita Jain
Snowman, 2012 India Ink On Paper 12" X 14.5" © Anvita Jain
Busted Brain, 2012 India Ink On Paper 9.5" X 12.25" © Anvita Jain
Quick Facts
Birth year
Lives in
New York
Works in
New York
Cranbrook Academy of Art, 2012, MFA 2D Design
Birmingham Institute of Art & Design, 2004, BA Visual Communication
National Institute of Fashion Technology, 1999, BA Fashion and Technology
mixed-media, pop, installation, surrealism, digital

Through dark humor, irony and the dichotomies of heavenly/devilish, consumption / excretion, pleasing/unsettling, my work attempts to evoke a sense of anxiety and congestion dealing with contradictions of the everyday and our times. It often interjects the idea of excess with notions of id, the psychosexual and our animalistic nature. By inventing an imaginary world, it mines the depths of ambiguity that could draw the viewer into a mirror of complexities of their own consciousness.

The work exists in an absurd and subverted domestic space. It draws from the conflicting nature of my own upbringing based on cultural issues of religion, gender, adolescence, sexuality and spirituality that led to a state of constant confusion and unrest. I struggled to find my own identity while constantly being identified through my hair (which is naturally voluminous and dramatic). I was often imposed with and made witness to other people’s notions of beauty, ugliness, racial and gender stereotypes, all due to my hair. The visceral quality of hair subconsciously factors into my work through developing an instinctive working pattern.

Indian folk visual traditions typically excluded from the official canons of history and art inspire these drawings. I enjoy the raw innocence of folk art, its depiction of the spirit world and our interior emotional realities. Primitivism in art gained impetus from anxieties about modern realities and as a way to engage in retrospective tradition to question the nature of humanity. Formally and stylistically, making use of a pronounced one-dimensionality and flatness, simple outlines, emotive distortions of the figure, lack of depth and perspective, are for me, not only ways of referencing alternative systems of living but also, calling into question the very idea of ‘primitive’.