Ananda Gopal Roy completed his diploma in Painting from Government College of Art and Crafts, Calcutta in 1971. He joined the painting workshop at the American University Centre, Calcutta, for research work in painting in 1971-72. This early self-assertion has been succeeded by an impressive number of exhibitions of Ananda Gopal's paintings in Calcutta, Delhi, Mumbai and in other galleries all over India. He has also obtained the Teacher's Training Art Appreciation from Calcutta University, Calcutta. He has been awarded twice for his paintings in oil and watercolours. Ananda Gopal originals illumine many private collections in India and abroad.
 
Since the 70's, he has continually experimented with various techniques and trends of painting. His evolution as an artist has been phenomenal. He has invented a style of his own which represents his life and the simplicity innate in nature. He has transmitted his ideas in the language he speaks best - through his palette on canvas. As a creative artist, he has perceived the superfine stages of his paintings both technically and methodically. He loves life passionately and enjoys his creative persuits without any media hype.
 
This has made him one of the most responsible persons in the socio-cultural milleu, of Calcutta, - India's cultural capital. Ananda's deep involvement with the cultural heritage of India helps him to crystallize ideas into compositions which are very unusual and original. His skillful applications always reflect a unique vibrancy. His images and thoughts throb with a simple appeal that speaks directly to the soul. His paintings have transcended the national boundary. Today he is an artist of international repute. Several eminent art critics, fellow artists and art lovers, both in India and abroad, have published appreciative evaluations of his work since 1967.
 
Ananda Gopal was the founder member of the Outdoor Water Colour Painting Club formed in 1967 to inspire the watercolour movement in Bengal. He was also the founder member of "Reflection" artists' group set up to popularise art amongst the masses. He initiated the Calcutta Art Fair movement in Calcutta in 1969. He organised the, "Sunday outdoor Study Circle" in 1972 in Bhubaneswar, Orissa, to create interest in art amongst the younger generation. Recently Ananda Gopal Roy is initiating the formation of an Artists' Commune to develop the cultural heritage of India.
 
The transition between the 20th and 21st century is most important to me as an expression of creativity. The evolutionary images of old monuments, ruins, caves, ancient places where one can almost hear the footsteps of history, are aesthetically composed keeping in mind the philosophy governing socio-economic life placed against the backdrop of a historical timeframe. This juxtaposition opens up a broad spectrum in my paintings. It creates an allegorical resonance of the historical past with the contemporary period. I expound my conceptual introduction briefly to the viewers.
 
The lost paradise of my past is like an adieu to the setting sun. The residue of ruins, life and ever flowing beliefs - I am able to transfigure into abstract art-forms and figments from fossilisation, vibration, sacraments which are perceived through the allegory of "Sacred Stones", "Stagnant Water". I search these in my various insights.
 
At the core of my artistic abilities lies the desire to create unusual images of spatial and temporal variations. The essence of this is evident in the pictorial trend set as I evolve as an artist. Pictorial time and space are depicted using variegated tones of various colors.
 
As a mature and experienced colourist, my philosophy of colour dominates the entire painting area with the various layer-bound skins of colour and reflections. This language of colour is the transitional language of my paintings. The innate lightness of colour creates illusion and vibrancy. The spectrum effect of my painting highlights my originality, trends and technique. As a result my painting encourages a massive distant range of vision. I recognise this as the visual range-effect of painting, through which it acquires the ineffable quality of dimension of the ultraclassicism of painting.
 
The quality of colourful depth, its tenderness, simplicity, fluidity and solidity are measured scientifically as per variation of properties, such as velocity, gravity, volume, weight and proportion of colour and light. As a result of these measured variations, the plastic quality of colours essentially depicts an unusual tendered beauty of ultraclassical art. This knowledge and conscious colour exploration has established me as a colourist painter.
 
I paint using a heavy body of colourful depth with dense pigments impasto. I prefer to use the sensitivity of surface, its touch and feel, applying texturous paint skin and porous brushings with intermingled layers of thick and thin colours.
 
The centrifugal character of composition and outward expression creates a monumental and expanding quality in my painting that surges forward to embrace the viewer.
 
According to the requirements, soft and sharp edges are use in making plasticised lines, which are dynamic and are cut short controlled and harmonised. The insulated felt-contents articulate my emotions into convincing pictorial sensation with latent gestures. Intertwined elements of felt-content create calm, quiet, fluid and floating shapes of non representational nature that traverse space which transcends into a floating structure within the pictorial space that persists in the mind. It permeates the viewer's consciousness and is imbibed in their hearts.
 
My paintings are complete in nature, incorporating vital aspects and concepts of ultramodern classical elements of art.
 
I work with the principle of vibrant, expressed colours like an eclectic first-timer, or a tentative child on the threshold of great colourful art. Basically I am a colourist. I believe in the power of aesthetics to build various trends of art for the sake of my next generation.