Nandita Chaudhuri is a British Indian artist based in London. She has a MA in Fine Arts from Camberwell, University of Arts, London where she has worked extensively, along with her practice, with the Research Centre for Transnational Art, Identity and Nation (TrAIN). She produces works that are distinctly non-conformist. She believes in breaking free of pre-conceived definitions and stereotyped compartmentalisation. More recently, she has stripped the narrative to a raw abstract physicality in expression. Her works have a distinct transnational context rich in texture and residual by-product. Her works are displayed as permanent collections of major global hotel chains, collectors and various museums such as the MOSA. She has shown her works at the Royal Academy, Saatchi Gallery, various biennales globally, at the China Art Museum, Shanghai, several elephant parades and other outdoor installations. Predominantly a painter, Nandita has also been working with installation and video in London, Singapore and Mumbai.

Artist Statement

There is always a surface and depth in all transactions. It is through archaeological incisions that we can dig deeper behind veneers to perceive elusive and invisible entities. There is an endeavour to plot that graph and excavate mysteries trapped within multi-surfaces.


  • MA Visual Art, Camberwell, University of Arts, London,
  • Research Centre for Transnational Art, Identity and Nation (TrAIN), London
  • Research Paper on Transnationalism, Identity and Nation
  • Post Graduate Diploma Fine Art, Chelsea College of Art & Design, London
  • Foundation Fine Art, Slade School of Art, London
  • MA Marketing, Westminster Business School, London
Nandita Chaudhuri

Artistic approach

When I started my practice more than 20 years ago, I had been largely influenced by the techniques adopted by Jackson Pollock and Cy Twombly and my works engaged methods of using materials inspired by them. A few years later, I worked with collages and was drawn to Gerhard Richter’s overpainted photographs. Although I was painting in the new Milleneum, the works of American artists of the 1940’s and Gerhard’s paintings of the 1990’s haunted me. Although I am fairly agnostic, I have also drawn inspiration from Bibilical paintings from the late 13th Century and Byzantine art. More recently I am hugely inspired by artist Christy Lee Rogers’ work inspired from the Renaissance period.

In essence, my works have largely incorporated my personal and emotional ups and downs using tools of visualisation picked up from masters across various timelines. My works are distinctly non-conformist with a strong emotional element. I believe in breaking rules and order, free of pre-conceived definitions and stereotyped compartmentalisation. The works often have an ephemeral yet bold quality, stripping the narrative to a raw abstract physicality in expression as I paint monks in a setting based on current emotional and socio political states. Creating a visual imagery of the tension between Yin and Yang; of the duality in the present. The methods applied are also not regimented but more instinctive, and although I don’t believe in order, images and colour balance seem to find order in the most innocuous way. Having been displaced from my earlier years in India upto the 90’s and then finding home in the UK, the works have a distinct transnational context, rich in texture and residual by-product. This fact, combined with the current socio-economic and political climate that I live in, have created works that are unique; as the references sit astride timelines and yet reflect the displacement from a transnational context. The works have recurring usage of circles representing energy patterns and the open safety pin symbolising possibilities and eventualities that hang unanswered. My heightened sensory perception allows me to translate everyday life and reality into energy fields. My works have also been derived from a unique set of experiences that reflect gender prejudices and a limited scope of vision. The works endeavour to demarcate and illustrate the ultimate dissolving of man-made boundaries.