Frida of Bengal or a New Artistic pour out? Soumita Saha’s Self-Portraits Spark Conversation at Birla Academy

The tradition of self-portraiture remains relatively uncommon in Eastern India. Even rarer are artists who employ the self-portrait not merely as a representation of physical likeness, but as a profound visual language through which personal reflections, lived experiences, struggles, and journeys of self-discovery are articulated. In the history of world art, one of the most celebrated practitioners of this genre was Mexican painter Frida Kahlo, whose deeply introspective self-portraits transformed personal pain and resilience into timeless artistic narratives. Later, Indo-Hungarian artist Amrita Sher-Gil reimagined this mode of self-expression through her own distinctive visual vocabulary, earning her the enduring epithet of “India’s Frida Kahlo.”

In recent years, Bengal-based multidisciplinary artist Soumita Saha has attracted attention for crafting similarly layered narratives of memory, emotion, perseverance, and introspection through the medium of self-portraiture. In her artistic universe, the self-portrait transcends the boundaries of facial representation and emerges as a document of an inner voyage. Consequently, a section of art enthusiasts and culturally engaged audiences on social media have affectionately referred to her as the “Frida Kahlo of Bengal” and, at times, even the “Frida Kahlo of the Twenty-First Century.”

This artistic discourse found renewed momentum at Summer Colour Carnival, the much-anticipated group exhibition organised by Bengal Art Factory at the prestigious Birla Academy of Art and Culture, Kolkata. Curated under the stewardship of Bengal Art Factory founder Kingkar Bandyopadhyay, the exhibition brought together an expansive spectrum of artistic styles, philosophies, and visual expressions. Amidst this vibrant constellation of works, two remarkable self-portraits by Soumita Saha emerged as particularly compelling points of discussion.

Executed in acrylic, the two paintings present strikingly contrasting artistic languages while remaining deeply rooted in personal expression.

Chhayanot

The first work, “Chhayanot,” derives its title and inspiration from the monsoon raga of the same name. In this evocative self-portrait, the artist envisions herself as a dreamlike figure draped in green, immersed in the spirit of rain and renewal. Against the backdrop of a sweltering summer, Chhayanot appears almost like the arrival of a long-awaited shower—a poetic metaphor for tranquillity, rejuvenation, and emotional resurgence. Through its lyrical palette and atmospheric sensibility, the painting transforms seasonal longing into a visual symphony.

Elysium Dissonance

In sharp contrast stands “Elysium Dissonance,” a geometric abstract self-portrait where intricate motifs, recurring patterns, and layered structures become vehicles for exploring identity and consciousness. Rather than depicting the self directly, the work invites viewers into a labyrinth of repetition and introspection.

“Elysium Dissonance is, in many ways, the story of my own life. Throughout my journey, I repeatedly found myself trapped within cycles of recurring experiences and circumstances. The painting emerged from my attempt to break free from those invisible loops and rediscover myself beyond them.”

Reflecting on the painting, Soumita Saha explains:

The exhibition showcases not only the creations of several distinguished senior artists but also an impressive array of works by emerging talents, fostering a rich intergenerational dialogue. Running from 2nd to 7th June at the second-floor gallery of the Birla Academy of Art and Culture, the exhibition offers visitors a dynamic panorama of contemporary artistic expression.

Adding further significance to the occasion, Soumita Saha was among three artists honoured with the prestigious “Shilpi Gourav Samman” (Artist Glory Award). The accolade stands as a recognition of their artistic dedication, creative excellence, and contributions to contemporary art.

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The inauguration ceremony and award presentation were graced by several distinguished guests, including Anshuman Pal, Zonal Head of ICCR; Amit Samanta, Member of the West Bengal Legislative Assembly; renowned academic and Vice-Chancellor Prof. Dr. Nandini Sahu; and Uma Ray, Curator of the Birla Academy of Art and Culture. Their presence further enriched the stature and significance of the event, underscoring the growing importance of platforms that celebrate both established and emerging artistic voices.

As audiences continue to engage with questions of identity, memory, and self-expression, Soumita Saha’s self-portraits stand as compelling reminders that the most profound artistic journeys often begin with an exploration of the self.