Tanuj Sardar is a young painter, born 1980. He is self-taught in the field of art. Rather it may be said he has learnt out of his own endeavor through his observation of nature and life without any institutional training. This has helped him to be free in expression without following any set norm of art practice. He is a graduate in general stream of education and now has taken up painting as his primary vocation. He has participated in some important group exposures and earned appreciation.

His paintings, which are done mostly in acrylic on canvas, besides other mediums, are inspired by nature. He takes human being as part of nature, and feminine beauty as its highest expression. He places this beauty in his paintings against other elements of nature, flowers, creepers or some docile lyrical creatures and sets a mute dialogue between them. Through this dialogue he tries to extract the intrinsic meditative beauty that the nature contains and constructs it irrespective of the naturalness of nature. In this sense he creates a separate nature infusing the essences of the visible nature and heightening it towards an aesthetic contemplation. His figurations are mostly in profile, which enhances decorative elements in his execution and creates a separate vibration coming out of the so-called mundane reality. He uses jubilant chromatic exposures but defuses that jubilance through inclusion of some darker shades. This duality or interaction between bright and dark, along with introduction of some dramatic conflict to some extent romantic in nature, helps him to generate a kind of classical sobriety.

Decorativeness is an essential element of folk and tribal art. High art, despite its stress on some essential revealing content, delectable or otherwise, very often resorts to this decorative element to infuse a kind of liminal space within the observed reality. Reality is thus gets transcended towards a divine super reality. Some of the artists of our neo-Indian school have made very successful use of this decorativeness. The succeeding generations of our modernity have also utilized this tradition. The paintings of Tanuj Sardar have some subtle link with folk as well as neo-Indian sensibility. Taking cue from these traditions he extends his forms towards contemporary modernity, where he has tried to create a kind of transcendental inward meditative beauty, which arising from ground reality exposes a liminal space to traverse beyond it. His search is for an idealized beauty based on life and nature. Till now there is some sentimental exuberance in his execution, which he is sure to overcome through sustained practice and continuous attachment with art and life.