rajpurkar started trash af seeking nude and seminude pictures of people whod been slut shamed she illustrated and released them on her page acrylic elephant captioning them with poems she received watch0045vaibbhav tatwawdi shares his experience about working in movie lipstick under my burkhathe experiment revealed a far greater concern that society seems to have i got emails from men and women who felt bad thinking all these stories were about me says saakshi thinking so a man wrote that she would be okay if she stopped having so much sex another group of women said that she could have chosen something less controversial artists face flak for their work but i received lots of unnecessary concern adds saakshi who took on these conditions through her art social media and its double standardson instagram saakshi tries to stick to the given guidelines so that they dont take down her art its funny there are accounts where men have uploaded nudes of their exes those stay but an artists uploads of nude artworks get taken down says saakshinid ahmedabad design student sarah naqvi whose artwork centres around the female body in relation to image and shaming agrees with this online hypocrisy instagram raised issues where my work did not fit in with their guidelines but when someone looks sexually at artwork that uses the biological female theres a problem with the gaze not the artwork says sarah during media interactions too sarah has to filter through her work to provide something thats suitable to publish its like the problem we had with period blood when artistpoet rupi kaurs post was taken down in 2015 social medias double stands notwithstanding both artists feel that more than authorities the problem lies with those who report the post its simple when a woman bares herself in someway shes taking power away from a man to do that to her thats what really troubles people and society says saakshii fail to see why art should be assigned genderspecific labels using her experiences as a student of the form when bengalurubased sharanya ramprakash explored feminine representation in her kannada play akshayambara through the prism of yakshagana an maledominated folk form of karnataka it yielded interesting results was she questioned for critiquing an 800yearold traditional art form or for being a woman who was doing so interestingly it was a bit of both who are you to critique this tradition how can you bring questions of gender into it were the most common responses says sharanya akshayambara imagines role reversal in the draupadi vastrapaharana yakshagana plot interpreting gender when a man plays the stree vesha while the woman purusha vesha gender is so vital that if somebody breaks the rules they face dire consequences society really looks at gender as nonfluid where you arent allowed to cross borders what is scary is when this ownership forms the core of our culture sharanya adds interacting with femaletomale transgenders as part of her project sharanya realised how theres patriarchy