Sanjib Mondal’s art, a counter-practice to socio-historical criminality of the larger habitat of his belonging, manifests itself in varied forms of expression. A proficient young painter and printmaker, Sanjib, trained in Santiniketan’s Kala Bhavana, is uniquelyfocussed on making art in his own norm, within the crisis of an art practitioner’s material survival.Sanjibmakes images in the spirit of various contextual deliverances of material realities of hislife-conditions. Once as a student producing large scale experimental woodcut prints, Sanjib has gradually chosen to work with charcoal on paper, as a central medium for the fundamental design of his images, on a comparatively reduced scale. Sanjib’s use of charcoal as a medium comes from his historical consciousness of experiential belonging within the phenomenology of caste-society which is devoid of any focus of light of history. A life-world, lit by their own light of struggle for human dignity and material survival confronting endemic Brahmanic hegemony, appears in its ignored fragments in Sanjib’s images.