A woman who has proudly donned the mantle of an Andolan-jeevi, an activist who uses her art as a form of protest. The personal is political as the feminists have already discoursed; the personal hurt too, therefore, is political. When Shubhra terms herself as an artist, she also highlights the point that her works rise from a personal space of hurt. In this instance it was the Farmer’s Protest in Delhi NCR region which set a historical marker in India’s history. The entire experience of being a spectator, watching the horrific treatment of the farmers unfold, pushed her to create works which would be closely associated with the mediums of nature that the farmers are close to. Besides, the Indian society is extremely dependent on the farming sector, thus, unlawful biases against them shook the entire nation, much as they did Shubhra’s consciousness as well.


Her work is largely focused on the element of effect within the space of politics. Thus, sensitivity and nuance are all thoroughly placed in each of her sculptures. She is also aware that her work being ‘protest art’ might make people reluctant to having it displayed in gallery and home spaces. Yet her conviction is so very strong that it pulled her towards this very discourse in a way which is vocal and consistent in its approach.

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