Paper

Student Artwork Guide

Srinagar II

Name Class Date

Praneet Soi, Srinagar II, Singapore Art Museum. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Praneet Soi topimpressionists.com/en/artists/praneet-soi/
Artist’s dates
1971 –
Held at
Singapore Art Museum topimpressionists.com/en/museums/singapore-art-museum-singapore/

In context

Srinagar II — Praneet Soi

When might this have been painted?

  1. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span, counting 0 from birth.

every dated painting, decade by decade

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Colours

Measured from the image

    Main colour

    Black #16160f

    Catalogued palette

    • #16160F
    • #EBC78F
    • #735D3E
    • #BC955F

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Black
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Srinagar II — Praneet Soi

    Kashmir, once a land of multitudinous beauty, is now a valley beset by conflict, death and destruction. It is considered “the unfinished business of the end of Empire” and remains one of the oldest unresolved disputes in the world today. Witness to Paradise 2016 (the title drawn from Sanjay Kak’s photo-book of the same name) is a curatorial project presenting mediated reflections of a landscape that was once and now is Kashmir, through the work of two artists, an anthropologist and filmmaker: respectively, Nilima Sheikh, Praneet Soi, Abeer Gupta and Sanjay Kak.Sheikh’s paintings are personally woven imaginings that draw from accounts, texts, lore and the craft traditions of the region.For example, Another Chronicle of Loss and Shadows, Stains are informed by the poems of Kashmiri poet Aga Shahid Ali, while Sheikh’s extensive use of stencilwork alludes to the latticework typical of vernacular Kashmiri architecture. Her paintings are a multifaceted meditation on the nature of destroyed beauty, the necessity of memory, and the forms and adequacy of memorialisation.In Srinagar II, Soi explores the plurality of influences in Kashmir and the migratory nature of forms and images through the papier-mâché tiles. The slideshow of Sufi shrines and other images are an ongoing visual diary of Srinagar that Soi constantly updates.The wall drawings include excerpts from the Instrument of Accession (ceding Jammu and Kashmir to the Dominion of India in 1947) and a diagram referring to anamorphosis (a technique that causes an image to appear distorted unless seen from a particular location) from Leonardo da Vinci’s Codex Atlanticus, which serves as a metaphor for his body of work shown here.Gupta explores the material culture of Kashmir through the pheran – a garment that is used widely by men, women and children across class and religion in this region. He sees the pheran as a symbol of Kashmiri identity that has witnessed the political, social, cultural and aesthetic changes that have taken place in the area. Archival photographs from the collection of Mahatta & Co. Srinagar showcase the pheran in the context of daily life in Kashmir.Kak curates 30 photographs by five photojournalists – Meraj ud-Din, Javeed Shah, Altaf Qadri, Showkat Hussain Nanda and Syed Shahriyar Hussainy – to excavate photography as a key artistic practice that has emerged from 25 years of endemic conflict in the Kashmir valley. The Witness to Paradise project focuses on photographers who displace older photographic traditions, which were first spawned by colonialism, and later tourism. The established tropes around Kashmir–of a beautiful landscape sans people; of an innocent paradise; or at best, of a paradise beset by mindless violence–are conclusively reversed by this work.

    Artist and museum

    Artist

    Praneet Soi

    Born in Kolkata, India

    Praneet Soi: Documenting Labor and Memory

    Praneet Soi (b. 1971) was born in Kolkata, India, amidst a burgeoning artistic landscape shaped by influences from both Western modernism and Indian traditions. He pursued his formal education diligently, earning a Bachelor’s degree in Painting at Maharaja Sayajirao University of Baroda in 1994 and subsequently completing his Master's degree in Fine Arts there in 1996. This grounding in academic rigor would prove invaluable as he embarked on a journey to Amsterdam in 2002, where he enrolled at the Rijksakademie van Beeldende Kunsten—a pivotal step that fostered collaboration with fellow artists and broadened his artistic horizons. He continues to reside in Amsterdam today, balancing creative pursuits with scholarly engagement.

    Early Influences: Soi’s formative years were marked by exposure to the avant-garde movements of Europe, particularly Surrealism and Conceptual Art, which instilled in him a fascination for exploring unconventional approaches to artistic expression. Simultaneously, he absorbed the rich visual culture of India—particularly miniature painting—which would later permeate his own distinctive style.

    Academic Training: His studies at MS University Baroda honed his technical skills and fostered an understanding of compositional principles, while his MFA program at UC San Diego provided him with a critical framework for analyzing contemporary art practices.

    The Documentation Project: Focusing on Kumartuli Workshops

    Soi’s artistic trajectory gained significant momentum in 2008 when he initiated an ambitious project documenting the intricate world of Kumartuli, Kolkata—the epicenter of Hindu idol making. Driven by a desire to capture the essence of this disappearing craft tradition, he embarked on meticulous observation and photographic recording, transforming these images into powerful paintings that conveyed not only visual accuracy but also palpable emotion. This commitment to portraying marginalized communities and preserving cultural heritage would become a recurring theme throughout his oeuvre.

    Kumartuli Workshops: Soi’s work centers around documenting the daily lives of artisans in Kumartuli, capturing their techniques, tools, and the social dynamics within these workshops.

    Painting Style: His paintings are characterized by a restrained palette—often dominated by earthy tones—and a meticulous attention to detail that reflects his dedication to faithfully representing the textures and nuances of his subjects.

    Recognition and Awards

    Soi’s artistic endeavors have garnered considerable acclaim, culminating in prestigious awards and honors. Notably, he received the Sahitya Akademi Golden Jubilee Award for Literature in 2008—a testament to his intellectual curiosity and engagement with cultural discourse—and subsequently secured the Sahitya Akademi Prize for Translation in India in 2013. Furthermore, in 2022, he was awarded the 7th JLF-Mahakavi Kanhaiyalal Sethia Award for Poetry—affirming his commitment to artistic exploration across diverse mediums.

    Sahitya Akademi Awards: These accolades underscore Soi’s dedication to both visual art and literary scholarship.

    JLF Prize: The JLF prize recognizes his poetic sensibilities and his ability to convey complex ideas through evocative language.

    Recent Exhibitions and Artistic Developments

    Soi's artistic output has been showcased in galleries and art fairs across India, Netherlands, UK, and the United States—establishing him as a prominent figure within the international contemporary art scene. His work explores themes of memory, labor, and cultural identity, often juxtaposing traditional crafts with modern visual languages. Recent projects include Hold Still, which delves into the impact of media on collective consciousness, and Urban Kitsch, exploring vernacular visual culture in Baroda following economic liberalization. He continues to push boundaries, experimenting with new mediums and engaging in collaborative endeavors that enrich his artistic practice.

    Concluding Thoughts

    Praneet Soi’s art stands as a compelling reflection of India's evolving cultural landscape—a testament to the power of observation, meticulous documentation, and artistic innovation. His unwavering commitment to preserving cultural heritage alongside exploration of contemporary themes ensures that his work will continue to resonate with audiences worldwide.

    Museum

    Singapore Art Museum

    On show in Singapore, Singapore

    A Beacon of Southeast Asian Art

    In the heart of a bustling metropolis, where modernity meets tradition, the

    Singapore Art Museum

    (SAM) stands as a vibrant testament to the burgeoning artistic landscape of Southeast Asia. It is far more than a mere repository for precious objects; it is a dynamic platform where contemporary voices resonate and cultural narratives unfold with profound depth. The museum offers an intimate encounter with the pulse of a continent, fostering a dialogue between the historical roots of Southeast Asian identity and the experimental frontiers of global contemporary practice. For the discerning collector or the passionate art lover, stepping into this institution is to embark on a journey through layers of regional identity and social commentary.

    The museum’s physical presence is as compelling and avant-garde as the artworks it houses. Eschewing the sterile confines of traditional gallery settings, SAM embraces unconventional spaces that extend its reach into the very fabric of Singapore itself. The flagship building,

    8Q SAM

    , is a masterpiece of architectural character, housed in a beautifully restored former Catholic school on Bras Basah Road. Its distinctive façade, adorned with colorful cubes, serves as a playful invitation to creativity, while the interior is thoughtfully designed to create an immersive environment that enhances the visitor experience. This spirit of exploration continues at locations like the Tanjong Pagar Distripark, where raw, industrial aesthetics provide a striking, deliberate contrast to the delicate or complex installations on display.

    A Tapestry of Contemporary Expression

    The collection is a rich tapestry spanning painting, sculpture, photography, video, and installation art, with each medium serving as a vehicle for exploring complex themes of globalization, memory, and cultural evolution. The museum’s programming, including the prestigious

    Singapore Biennale

    , ensures that the institution remains at the forefront of international artistic discourse. Visitors may find themselves captivated by powerful performance pieces or lost in evocative photographic narratives that capture the poignant yearning of the modern cityscape.

    What truly distinguishes the Singapore Art Museum is its unwavering dedication to a regional focus with global reach. While many institutions adopt a broad, often detached international perspective, SAM’s core mission remains firmly rooted in showcasing the unique artistic voices and cultural narratives of Southeast Asia. This focused approach allows for a deeper exploration of local contexts, fostering a profound understanding of the complexities of identity within this diverse region. For interior designers seeking inspiration or collectors looking to understand the trajectory of Asian contemporary art, SAM offers an experience that is both intellectually stimulating and emotionally resonant.

    Where to read more

    • The artist Praneet Soi topimpressionists.com/en/artists/praneet-soi/
    • The museum Singapore Art Museum topimpressionists.com/en/museums/singapore-art-museum-singapore/
    • Similar works More works to compare topimpressionists.com/en/art/similar/praneet-soi-srinagar-ii-D7UQPY-en/

    Find this online

    QR code linking to the download page for Srinagar II

    topimpressionists.com/en/art/download/praneet-soi-srinagar-ii-D7UQPY-en/

    Cite this artwork

    MLA
    Soi, Praneet. Srinagar II. n.d., Singapore Art Museum. https://topimpressionists.com/en/art/praneet-soi-srinagar-ii-D7UQPY-en/
    APA
    Soi, Praneet (n.d.). Srinagar II [Painting]. Singapore Art Museum. https://topimpressionists.com/en/art/praneet-soi-srinagar-ii-D7UQPY-en/
    Chicago
    Praneet Soi. Srinagar II. n.d. Singapore Art Museum. https://topimpressionists.com/en/art/praneet-soi-srinagar-ii-D7UQPY-en/
    Harvard
    Soi, Praneet (n.d.) Srinagar II. Singapore Art Museum. Available at: https://topimpressionists.com/en/art/praneet-soi-srinagar-ii-D7UQPY-en/

    Look closely

    Srinagar II — Praneet Soi

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. What might the artist have wanted you to feel?
    4. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What is the format of "Srinagar II"?

    "Srinagar II" by Praneet Soi has a landscape format. The format describes the proportions of the composition.

    What is the dominant hue of "Srinagar II" by Praneet Soi?

    An ochre to sepia hue runs through "Srinagar II" by Praneet Soi.

    What level of contrast does "Srinagar II" by Praneet Soi show?

    The light-dark contrast of "Srinagar II" is recorded as statement. Contrast describes how strongly light and dark areas differ.