Samita Nag is amongst one of the few senior printmakers, who throughout their career, predominantly remained a printmaker. In here you do not see many seeking recognition solely as a printmaker and there may be many reasons for this but it can be said that unless one is extremely passionate about this medium it is difficult to continue with printmaking for a long time. Samita was born and grew up in a village amidst lap of nature, while she was growing up socking the beauty and intimate smell and touch of nature she also witnessed and imbibed the art of Alpana drawn by woman folk of the village on their cow dung glazed courtyards. She wanted to go beyond the courtyard and use some other surface to draw and paint, to fill up spaces with colors and lines. From her days in the village to her days in Kalabhavana, Santiniketan seemed one unhindered passage. Apart from the course curriculum at Kalabhavana students were encouraged to soak in local colors, vastness of nature and surroundings. Simple tribal folks, their village, their simpler crafts. Shaal forests, terracotta temples, pebbled beds of the rivulets – all these made a deep imprint on her young mind. In her formative years in Santiniketan she opted for graphic art or printmaking, perhaps in her first two years of orientation she found out where her aptitude lies. During her students years she extensively worked in different mediums of printmaking. She stayed back at Santiniketan beyond her post-graduation and her work during that period was predominantly landscape. This deep imprint of nature which she grew up with carried and nurtured in Santiniketan had to reflect in her work. According to Samita the influence of Santiniketan on her was overwhelming. But, as she says, Samita had to find her own ideograph, radical breaks with the past was not for her. It had to be a slow process of evolution. At one point from the sheltered existence of Santiniktan, Samita came to Kolkata and this rural to urban shift immediately reflected in her work. Thanks to graphics studio of Lalit Kalla Akademi Regional Centre, Kolkata she could continue with making prints and produced large body of work in different mediums of printmaking. According to her by now the medium of printmaking became the language of her self-expression. I know Samita since nineties and shared the studio space with her. I have closely watched her growth as a printmaker. I have also seen her struggle to remain in the field as she had to overcome many hurdles, whether financial or otherwise, to continue with her work. She is indeed an important printmaker of our country today.