About

Sutapa Biswas is an Indian-born, British artist who lives and works in London, UK. Spanning a range of disciplines including painting, drawing, film, video, and photography, Biswas’s works have been described as often possessing a stark but poetic resonance. Drawing from her training in both fine art and art history as well as from poetry, post-colonial literature, and film, Biswas’s art is underpinned by her interest in the human condition. Described as ‘spatial stories,’ her works are often shaped by her observations about the relationships between people and the places they live in, throughout which the female gaze remains a haunting presence. Biswas is especially interested in how larger historical narratives from across the globe collide with the often-undocumented personal stories. As in her iconic works Housewives with Steak-knives (1983-85), Birdsong (2004) and Lumen (2021), Biswas’s art questions the complexities of racial and gendered power relations born out of tangled colonial histories - especially, though not exclusively, relating to those histories between India and Europe. Like thread unraveling and raveling in fabric, Sutapa Biswas’ practice weaves conceptually across time and space, inviting the viewer to speculate on constructions of their own identity in relation to the themes within her art. Across her artworks, the interplay of light and shadow, presence and absence become part of the aesthetic tools in simultaneously unpicking and reclaiming or re-constituting the ideological spaces, configurations and pictorial landscapes her works present.

Graduating with a BA in Fine Art with Art History from Leeds University (1985) Sutapa Biswas completed her postgraduate degree at the Slade School of Art (1990) and was a research student at the Royal College of Art (1995-98). Recognised as a key figure within the emergence of the Black British Arts Movement of the 1980s, Biswas’s works were immediately selected following her graduation in 1985 by the artist Lubaina Himid for the landmark exhibition Thin Black Line hosted at the ICA, London, wherein Biswas showed her monumental painting Housewives with Steak-knives, 1983-85 (Collection Cartwright Hall, Museums Bradford, UK), and her iconic video Kali, 1983-85 (TATE Collection). Biswas’s works were again highlighted in Frieze magazine’s review in a re-iteration of Himid’s show re-staged at the ICA, London (2025). Both Housewives with Steak-knives and Kali also featured in Tate Britain’s recent major touring exhibition Women in Revolt! Art and Activism in the UK 1970-1990, 2023-2025. Extensively reproduced in numerous seminal art historical publications, Biswas’s painting Housewives with Steak-knives features as the cover image to Tate’s recently published book A Brief History of British South Asian Art by the author Alina Khakoo. 

Sutapa Biswas’ works have been internationally exhibited and widely reviewed. Featured in The New York Times and the Financial Times, in 2021-2022 Biswas held two concurrent major solo UK exhibitions Lumen: Sutapa Biswas at Kettle’s Yard, Cambridge University, and BALTIC, Gateshead. A monograph accompanying her solo shows including essays by Dr. Courtney J. Martin, Griselda Pollock, and Anna Arabindan-Kesson, is published by Kettle’s Yard, BALTIC and Riding House Books. In 2022, Biswas’s film Lumen, 2021, was debuted for its USA screening at the Yale Center for British Art. Other venues that have hosted her works include TATE (UK), YBA & Beyond: British Art in the 1990s from Tate’s Collection, 2026 (Japan),  Yale University Art Gallery (New Haven), Tantra: enlightenment to revolution, The British Museum, ‘Mixed Bathing World 2015’ Triennial (Beppu, Japan), 6th Havana Biennial, Neuberger Museum (New York), Art Gallery of Ontario (Toronto), Melbourne International Arts Festival, Whitechapel Gallery (London), and Arnolfini (Bristol). Previous solo shows have been hosted by Autograph abp, (UK), Nara Roesler (Brazil), Iniva (UK), Douglas Cooley Gallery (Reed College, USA), PlugIn Institute of Contemporary Art (Canada) with Locus+ (Newcastle Upon Tyne, UK), Leeds City Art Gallery and The Photographer’s Gallery (UK). 

Sutapa Biswas is Fellow of Yale University and recipient of the Yale Center for British Art Visiting Scholars Award 2019-20. For over forty-five years Biswas taught fine art and art history within higher education in the UK including at Central Saint Martin’s College of Art, UAL, and Chelsea College of Art and Design, UAL where she was a Reader and taught for over twenty-three years, at Winchester School of Art, Southampton University, and at Manchester School of Art, MMU where she was a Reader from 2016 to 2025. Biswas is one of a hand full of artists who through her artistic, scholarly and academic work since the early 1980s has led the decolonisation of fine art practices and critical theories of art history. Beginning from her time as an undergraduate student in Fine Art with Art History at the University of Leeds, in a department established by the social art historian T.J. Clark, wherein as her former tutor the feminist art historian Griselda Pollock published the following, “Biswas in the context of a specific department and one of a few in a British university that brought the practice of fine art within its regimes of academic study, wherein “art history – predominantly grounded in historical materialism – insured that theoretical revision proceeded from an understanding of interests, power, domination, exploitation. […] Feminism played a vital part in the historical and political discourses, that were developing at Leeds. […] The critique and critical revisions of modernist art and art history, which feminism necessitates, were fast becoming the hallmark of the Leeds Department of Fine Art. There can be no doubt that this academic environment, this conversational community, influenced Sutapa Biswas. But…Biswas’s presence on the course was also highly influential. It was she who defined the absences in these seemingly radical discourses deriving from Marxism and feminism. It was she who named the imperialism that still structured analyses., and which spoke in undifferentiated terms of class and gender, never acknowledged the issues of race and colonialism. It was her critique that forced us to all acknowledge the Eurocentric limits of the discourses within which we practised. Her challenge was mounted face to face, not at the level of abstract taunts, but by direct engagement in dialogue of people sharing a space, a space thus assumed by her generosity to be able and willing to enlarge the critical discourse to accommodate the subjects of class, gender and race in their intricate and painful configurations between us and within us. She demanded change; and response was made, and the course altered. With the question of imperialism and its racist practices no longer repressed, the space of the studio and the lecture theatre had to be made to articulate the pressure of the social and psychic relations that imperialism, as a still-powerful structure, installed in us all. Instead of presenting binary oppositions, Sutapa Biswas’s practice as a student and producer of artworks systematically eroded the cliché of accusation and hence did not induce defensive withdrawal stemming from guilt.” [Griselda Pollock, Tracing the Figures of Presence: Naming Ciphers of Absence. Feminism, Imperialism and Postmodernity: The Work of Sutapa Biswas. Published by Iniva (UK) and Reed College (USA), 2004.]