Born in Hoshiarpur, Punjab, in 1944, Anupam Sud is an eminent Indian artist who has left an indelible mark on the contemporary art scene through her innovative contributions in the field of printmaking. She spent most of her youth in the picturesque town of Shimla, Himachal Pradesh.

She was good at studies and maths being her favorite subject, her father got her enrolled in Mathematics Honors at Hindu College, Delhi. This was the time when her uncle recognized her profound interest in art and suggested that she pursue it further. Coming from a conservative family, making a shift into the field of fine arts was both courageous and uncommon.

Anupam Sud pursued her artistic career at the College of Art, New Delhi, from 1962–1967. During this period, she understood that art is beyond the boundaries of mere skills. Art was imagination, creativity, experimentation with skills and materials, and a way of saying things in one's own way. According to the artist, printmaking was never her first choice as it involved messy and hazardous processes, but for her, destiny took its charge and navigated her journey towards printmaking.

After passing out from College of Art, continuing printmaking was not feasible due to non availibility of any commercial or private printmaking studios except for art institutes. However, under the pioneership of Shri Jagmohan Chopra, an association  of young artists devoted to printmaking named "Group-8" was formed to overcome this lacuna, which gave young aspiring artists an opportunity to practice and popularise this medium. Sud was one of the active members of  “Group 8," which gripped her printmaking journey further. She adds that “in 1962, the Sino-Indian war had led to a shortage of metal needed to make etching plates, Hence the in-depth research done by Shri Jagmohan Chopra in collography, metal plates were replaced by passepartout mounting boards.

In 1971, she got a scholarship from the British Council and went to the Slade School of Fine Arts, London, to master the art of printmaking. In 1977 she started teaching at the College of Art, New Delhi. In addition to her love for teaching, she also set a benchmark for printmaking in India and passed on her learnings and research to the students, which she acquired at the Slade School. Her efforts in this direction made the scenario of printmaking in India at par with what was being taught in the West. 

In her artworks, she mainly focuses on the mediums of etching and intaglio processes. However, in many of her works, she effortlessly fuses knowledge of different intaglio processes with lithography and screen printing. Apart from these techniques, Sud also excels at fine-line drawings and paintings. 

Talking about her artworks, she takes it back to her house in Hoshiarpur, where she would scribble on walls randomly. It is interesting to note that her works evolved from architectural forms to human forms in the mid-1970s to largely social subjects in the late-1970s. She developed her own style while she was training under Somnath Hore. 

Sud’s artworks have a strong bent towards figurative art, with a focus emphasized on scale and proportions. She says that “these figures are not mere representations but an element to fill the void spaces." The figures that she represents in the prints are perceived by her as sensual and not sexual. She adds, “The nude figures in her prints are perceived as the beauty of God's creation, and we as humans are already covered with layers above our bone structure.”

She further adds that, the core concept behind her works was never rationally thought through. Rather, they were reflections of incidents that attracted her. These incidents comprised burning socio-political issues, human relationships, and incidents of daily life. 

This print which she made in 1982, talks about the artist’s house in Hoshiarpur. It conveys a shift that happens in perception while growing up. The brick wall, initially perceived as substantial and protective, has undergone a change in significance. It was once considered a massive barrier safeguarding against the outside world. However, as the artist reflects on the passage of time and personal growth, the wall now appears small and no longer serves its original purpose of providing protection. 

This is a water color on paper, made by the artist in 2020. This painting explores a spiritual or metaphysical theme, highlighting the idea that the human soul is intricately and beautifully covered by layers of flesh and anatomical elements, specifically depicting arteries and veins as if they were the yarn of clothing.

The metaphor of God weaving the intricate details of human existence, using arteries and veins as threads, suggests a deep connection between the physical and spiritual aspects of life. This representation conveys a sense of divine craftsmanship and the delicate, intentional design of the human form. By portraying these anatomical elements as the fabric that clothes the soul, the artist expresses a profound appreciation for the complexity and beauty of the human body as a vessel for the soul.

In conclusion, the artist's journey of over 6 decades has been nothing short of inspirational, marked by a significant tenure as the head of the printmaking department at the Delhi College of Art. Her impact as a teacher and mentor has left a lasting imprint on numerous aspiring artists, shaping the creative landscape for generations to come.

The recognition of her artistic prowess extends globally, with prestigious institutions like the National Gallery of Modern Art, Victoria and Albert Museum in London, Peabody Museum in the U.S.A, and the Glenbarra Art Museum in Japan proudly housing her works. This international acclaim is a testament to the universal appeal and significance of her artistic expression. 

As she gracefully embraces retirement, the artist reflects on her journey, attributing much of it to destiny. Despite stepping away from the formal role at the College of Art, Delhi  her passion for art persists. Presently, she continues to reside and create in Mandi, New Delhi, leaving an enduring mark on the art world.