SEKHAR MUKHERJEE/ Calcutta. 1969 India
QUADERNS ANIMATS / ANIMATED SKETCHBOOK
FUNDACIÓ VALL PALOU - Lleida
Febrero / Marzo
Comisaria: Cristina de la Fuente
Calcutta. 1969 India
1989 / Calcutta University, Calcutta, Bachelor of Commerce Degree
1992 – 1996 / National Institute of Design, Ahmedabad, Post Graduate Diploma in Animation Film Design
1996 / Film and Television Institute of India, Pune, Certificate Course in Film Appreciation
1999 / Jadavpur University, Calcutta, Department of Electronics, Certificate Course in Multimedia
Teacher & Head of the department, Animation Film Design, National Institute of Design
2002 to present…
2009/ Invited to FUMETTO ’09, Luzern by Pro-Helvetia Delhi to talk about Comics and Culture at the Book Launch
of ‘WHEN KULBHUSHAN MET STOCKLI’ at Gallery Rum Sic at Luzern,Switzerland/ Invited to AYACC09,
Guiyang, China by APACA, Beijing- to talk about NID Animation Programme and conducted workshop on
creativity for the children
2008 / Invited to TBS Digicon6 2008 at Tokyo, Japan to talk about Animation education in India
2007 / Invited to LES E-MAGICIENES 2007,International Animation Curriculum Conference, Valencienes, Northern
France / Designed and directed three low budget limited animation film for SEWA (Self Employed Women’s
Association) a famed women’s NGO based in Ahmedabad
2006 / Joint Exhibition with French Comic Book artist Christian Calliouex, Casterman,at NID Design Gallery
2005 / Designed and directed three low budget limited animation film for SEWA (Self Employed Women’s
Association) a famed women’s NGO based in Ahmedabad / Invited to International School Show at SIAF
2005, Shanghai, Peoples Republic of China to talk about NID Animation programme / Invited to ASIFA-
International Animation Day, Mumbai as Panel Speaker on Animation Education in India
2003 / Invited to International School Show at FANTOCHE 2003, Baden, Switzerland to talk about NID Animation
From 2002 / Full time Faculty since April 2002, Head of Animation Department / Workshop Coordination,
Curriculum Development, Student Project Mentoring, Teachers training / Courses developed for NID
Animation: Animation Locomotion, Pre-Production I & II, Advance Animation, Comic Book/Graphic Novel
and Production Process / Festival Direction of Chitrakatha a Biannual International Student Animation
Festival (www.nid.edu/chitrakatha ) from NID / Designed and executed an Interactive CD for Toy Design
Education, NID / Designed and directed three low budget limited animation film for SEWA (Self Employed
Women’s Association) a famed women’s NGO based in Ahmedabad / Artist in Residence to Edition
Moderne Publication’s own studio Strapazin at Zurich to work on a 20 page Graphic Novel ‘Peace Will
Come According to my Plan…”as part of the Indo-Swiss anthology / Invited to TASI (The Animators Society
of India), Mumbai to talk about Animation Education at NID / Invited to Roopkala Kendro & Nandan, Kolkata,
organised 5 International Festival of Social Communication and Cinema Conference 2006, to present and
talk about NID animation / Working on personal film THE LITTLE BIG BRAVE ONES based on Tagore’s
poem for last 10 years and currently also working on new graphic novel on Food!
2001 / Decode Pvt. Ltd, Dhaka, Bangladesh: Designed and implemented the first Professional 2D animation studio
“Greenfield Toons” in Dhaka including setting up the physical plant and training the workforce /
R K Software, Calcutta, India: Production Manager, 2D Cel Animation Division
2000 / Millitoon Animations Pvt. Ltd., Chennai, India:Worked as key animator and chief layout artist with Millitoon, a
division of Millimages Studio, France for Three different series,eg 64 Zoo Lane(9 episodes),Talis and the
Thousand Tasks(12 episodes) and Ethelbert the Tiger(5 episodes)
1999 – 2000 / Tea Board of India, T-Shirt design / Economic Times, Calcutta, freelance cartoon and illustration /
The Telegraph & Ananda Bazar Patrika,Calcutta , freelance cartoon and illustration (to present) /
Jadavpur University, Interactive CD on “Upendrakishore” grandfather of Satyajit Ray / WEBEL
Multimedia Training Institute, Calcutta, Visiting Faculty / Price Waterhouse Coopers, Calcutta,
design and implementation of a web site and interactive CD
1998 / NATIONAL INSTITUTE OF DESIGN, Ahmedabad, Visiting Faculty, Dept of Communication / Animation and
Foundation courses / Research Engineers Pvt. Ltd, Calcutta, Research and Development for Animation
Division for five months / KODUROY O KHUKUMA children’s book about a toy and a small girl / SHOBAI
BHALO children’s book about jealousy and getting over it / TOKATUKI,TUKITAKI adult limericks on social
and political themes-cover design and satirical illustrations. (in Bengali) / INDIAN TEMPLE EROTICA a
book on Indian Temple Art & Architecture, did the illustrations.
1997 / Think Design Pvt Ltd, Ahmedabad, design consultant for research in communication / WEBEL
Mediatronics, Calcutta for the Government of West Bengal, three short animated films on the
Environment / UNICEF, Calcutta, twelve-page Comic Book about Arsenic Pollution in local languages for
1990-1992 / Economic Times, Calcutta - Cartoonist, illustrator and computer graphic artist
2009 / C-TV18 Award for outstanding contribution to the cause of animation education in India.2009
1998 / Alliance Francais and NID, Ahmedabad Best Film Poster on Jean Luc Goddard film WEEKEND
1995 / Hindustan Times Award for the best caricature from cartoon contest
1990 / Children’s Book Trust, Delhi, India, certificate of merit for the cartoon HOW TO USE YOUR DEAD
TELEPHONE, & SOCCER UNITES THE WORLD
2008/ ‘WHEN KULBHUSHAN MET STOCKLI’ published by Harper Collins
Delegate at National and International Film Festivals / Juror at art competitions for children in Calcutta / Juror at
Pre-Selection committee at Vatavaran, Delhi / Collaboration with fellow cartoonist Sarbajit Sen, cartoon books /
Children’s creativity workshop / Animation Film Appreciation / NID Film Club Chairman / Contributing 2 Sunday
comic strip in Anand Bazar Patrika,Kolkata / Part of Editorial board of 123 Animation / Journal,Sage, UK / Advisory
comitee member TASK (The Animation Society of Kolkata) / Consultant to various private schools and NGOs
My student days, 1994
Técnica mixta sobre papel/ 22 x 14 cm
My student days, 1995
Técnica mixta sobre papel/ 22 x 14 cm
Chennai Diary, 1999
Técnica mixta sobre papel / 16x11 cm
Zurich & other impressions scrapbook, 2008
Técnica mixta sobre papel / 25x25 cm
NID Teaching days, 2002 / Técnica mixta sobre papel / 24x25 cm
Festival Annual for my Love, 2000 / Técnica mixta sobre papel / 26x16 cm
Tokatuki Ukitaki, 1999
Técnica mixta sobre papel / 21x13 cm
When Kulbhushan met Stokli, 2009
Técnica sobre papel
Angry man with a dead crow
Pintura transparente, tinta indiana sobre papel de
pergamino / 39,5x27 cm
Just divorced, 1997
Pasteles y tinta indiana con pincel sobre papel / 56,5x76 cm
Madam with a dice, 1999 Madonna and her Puppy, 1999
Pasteles sobre papel / 56,5x76 cm Pasteles y tinta indiana con pincel sobre papel / 56,5x76 cm
Lost dream of Calcutta, 1999 / Pasteles sobre papel / 56,5x76 cm
My mother Teresa, 1994 / Pincel y pluma con acuarela y tinta negra / 41x56 cm
Blackbuck deer-dry, 1992
Pincel sobre papel / 46x33 cm
Crocodile Charocoal, 1996
Dibujo sobre papel de prensa / 32,5x38 cm
Love all the children, 2000
TV Commercial, 2000
Sewa Animation 1, 2002
Sewa Animation 2, 2005
The antagonist, 1996
Greying Factor 1,2,3 - 1996
SEKHAR MUKHERJEE’S SKETCHBOOKS
Way back in my school days, amongst mundane boring classes, I enjoyed quite a bit as a last
bencher, observing the entire classroom activities and could not resist to fill it up with crooked
doodles in my class workbooks! I have an itch towards empty spaces and pages and love to fill
it up with the crazy scribbles of this complex world we live with. So I continue with my
scrapbooks, which became part of me, a fantastic affordable device to store my secret ideas
flowing out from the restless recording of moments in and around me.
I also discover the intoxicating beauty of relative truths through my sketchbooks, which comes
in various shapes and sizes starting from school days notebook to official writing pads to scraps
to standard sketchbooks to even the empty walls of my home! This series of
sketchbooks/scrapbooks are nothing but my freedom song, my idea bank, my memoir, my open
secret diary and my oxygen mask, to keep my hope alive.
(…)How did you get into Art and Animation?
To explain how I got into art and animation, I will have to first provide a little backstory.
I was the first kid in a very large family and my grandfather was an artist. Unfortunately grandpa couldn't pursue his
career in art because of the crisis (Partition of Bengal ) and the family came to Kolkata from Bangladesh where he
took up a job in the bank. That however did not dampen his passion for art and he spent many an evening working
on watercolor miniatures and as he sat living life to his concepts, I who was then only a three year old kid, sat on
his lap and observed him with fascination. And you know how it is with kids, they start doing what they see and I
too started drawing since then.
Another lucky thing was that most of my family members were full of stories, of mythology, of ghosts, of the
partition, of how Bangladesh was.
If I look back, all these habits got inculcated in me and I cannot somehow survive without telling stories, drawing
and imagining. Whatever I see, every experience to me, is a story that I can communicate.
As part of a middle class Bengali society, there was this whole pressure of having to go to school, study well and
take up a career as a banker, engineer etc and I almost got into that groove, it was very difficult for me to convince
my family that I wanted to be a visual artist.
Later on I was introduced and exposed to characters and personalities like Tin Tin and Charlie Chaplin and all the
short animated films one got to see before the start of a film in the cinema hall, the funny characters moving on
screen become like a drug to me, that was a world I wanted to belong to, it became an obsession.
Allow me to leap to the present. You are a faculty who has also had a career as an artist and surely have
plenty of offers from studios across the country to join them. Given the way that things currently are, the
commercial prospects for an artist working at a studio are much higher than that for faculty. At the end of
the day what keeps you motivated to stay at NID in the field of academics and animation education? What
is your take away?
There is a lot of motivation, pride and sense of satisfaction which I get by mentoring and co ordinating the
animation course at NID.
I have a lot of experience, as an artist working in various commercial set ups, as an enthusiastic art student and as
a faculty member guiding and mentoring students of art. I am very well aware of the flipsides and upsides of all of
these. I have a knack and flair to share my experiences and when the young generation of students come up with
beautiful work, that is my take away, the fact that I am helping in contributing great artists to the industry is what
gives me satisfaction.
On another level as an artist the motivation comes in the form of constantly staying amidst the young which is very
refreshing. Again even though it may not be that great in monetary terms, but the kind of unlimited resources I have
access to in terms of books, films, music, exposure to minds from multiple disciplines etc at NID is incomparable.
Also I can do my experimentation, conduct Workshops and lectures, have access to various national and
international festivals and this helps me in constantly evolving my perception.
That's an advantage when compared to working as a professional in a commercial set up where there are chances
of things falling into a rut.
However things could be better if....
What is your message to the Indian animation community at large?
We need more faculty and we look forward to the industry people joining us. If there are any professionals who are
interested in academics, we are ready to orient, breed and groom them as NID faculty. And it is not necessary that
only someone who works as an animator can be faculty, people who are good at music, editing, mimickry can also
come and mentor. The course here is animation film making and all these are vital components.
Please elaborate on your approach to animation as an artist?
I love to create characters which common people can relate to with a big dose of satire and humor. I really enjoy
Simpsons, where the whole show is a comment on society with talking heads. The show is entirely dialogue based
and I love it because I am more of a satirist who is also an illustrator.
Through my work I want to relate to the common man like the pan wallah chai wallah and create sad and happy
stories about them. I have already created a street dog character which is featured as a cartoon in a Bengali Daily
and I am planning to create an animated series around it. Something that can be immediately recalled and based
on local humor. Often we get mixed up and want ot make everything that is globally appealing but things have to
first work locally.
There is one fantastic French film 'Triplets De Belleville' made by a comic book artist who became an animator
Michelle Clemont I think. The film is entirely based in Paris with typical French humor and I am sure when he was
creating he was creating the film as a French man fr the French audience but the moment the film was released
people from all over could relate becuase eventually it was talking about the common people's dreams and despair.
My immediate TG will be common people who are around me in day to day life like the person I buy my cigarretes
from, these kind of people will be my immediate audience, if this audience can understand my expression then its a
sucess and then automatically it goes higher and higher in the intellectual level. The problem is that if I target the
highest intellectual level as my audience then my film becomes abstract.
I see myself and NID actively involved in mooting and developing a national curriculum for animation.
I would also like to see myself as a travelling educator. I would love to travel to places across the country and meet
artists who can share their experience with me. I have a tendency of identifying people who can be involved in
education and I would love to spot potential animation educators and help groom them.
The entire animation education and training issue in the country is a chicken and egg story but here it is very clear
that the chicken will have to come first, nurture the egg and only then will we have bigger pools of unique talent.
And I will be on the lookout for the Chicken (…)
Anand Gurnani, Animation Express, 16 february 2006