He is known as the god of cow dung, the king of curry pots and a very hungry god. Contemporary artist Subodh Gupta’s work is renowned for influencing the Indian middle-class psyche and giving employment to the humble. barton (Metal utensils) to create a variety of functions – from minimum to maximum.

Now, with your show, way homeInauguration at Bihar Museum, Gupta is busy once again. And I say that again because, even with shows like indoor gardenHe has kept a low profile since sexual harassment allegations were made against him in 2018 by the Instagram account @herdsceneand, a recent showcase in South Korea, and he won a defamation case in 2020.

I remember our one-on-one conversation during his installation-sculpture at the National Gallery of Modern Art, BapuWas established in 2012. We talked about how his work is inspired by his mother’s kitchen, where he played, studied, and even created early prototypes of his installations with her. BartonsToday, the once cheerful and approachable Gupta responds only to emails, and refuses to get on our group chat as I take a virtual tour of the exhibition.

way home It’s almost like a journey and recap. It takes us from his important works to his huge establishment Thalis To bunchwhich imitates a bouquet of flowers in a vase but is a collection BartonsAnjani Kumar Singh, director general of the museum, who has been a long-time visitor to Gupta’s studio, moderated the show.

“There has been constant discussion about our work and together we have carefully selected the pieces for this show,” says Gupta, who is showcasing 20 sculptures and a selection of paintings made between 1999 and 2024 in his home state. ” “The curation and exhibits are deeply intentional and meaningful. I wanted to give art lovers a comprehensive look at my artistic practice. The exhibition includes paintings, sculptures, video works and installations.

of personal importance

Gupta says that he has never stopped working. “Through challenging times and otherwise, I have continued to work tirelessly. Over the past few years, post-Covid, I have done several exhibitions, including my solo show at Nature Morte in Mumbai and a project at Le Bon Marché,” he says. “However, this special exhibition holds a unique position. This is my first exhibition in my hometown in 30 years, after graduating from Patna Art School. So, it feels like a homecoming in many ways.”

Door The installation (Brass, 2007) is similarly eye-catching deep sleep (2014), depicting a large skull made of stainless steel Bartons And there are brass utensils lying on its side. As he shared in an earlier interview with a newspaper, “Doors are constantly opening and closing. They also indicate possibilities, dreams, and endings. It’s a central act in the show for me because it says so much.

Door Establishment | Photo Credit: Martin Argyroglou

deep sleep
Photo Credit: Ram Rahman

I remember watching the first iteration of this The way homein 2000. He had assembled stainless steel kitchen utensils inside an enclosure of silver cling film, and scattered bronze and chrome-plated country pistols to blend in with household objects. On one side of the circle sat a life-size white cow, contrasting with the gleaming array of silver. As Nature Morte co-director Peter Nagy shared at the time, “With this work, Subodh catalyzed the use of objects as powerful symbols of India’s changing political and economic landscape in the early 21st century, Also did a grand construction. and fascinating sculptural ensembles from a diverse group of elements. A modified version of this – replaced by Cows and Guns Thalis And books – a symbol of Bihar’s growing literacy – are prominently displayed in the museum.

“Subodh is always doing new things, and he has the luxury of doing very experimental things and seeing whether they are successful or not. He tries new things all the time, knowing that even if something doesn’t work out, he’s learned something from doing it. That’s why I know he will continue to surprise us with what he does in the future.”Peter NagyCo-Director of Nature Morte

rebuilding what is lost

While things have been troubled in the art fraternity – for example, Gupta’s primary gallery Nature Morte decided not to exhibit his work on a public platform until the case and its implications are over (in 2020, Delhi The High Court ruled in Gupta’s favour), and the media has not given him much publicity – he is determined to find his footing.

two mechanized cows

There’s always cinema (I)

“Subodh is an artist, husband and father, tireless. He is curious and keeps trying. “No matter what’s happening around him, he goes to work every day,” says Aparajita Jain, co-director of Nature Mort. The gallery launched its Mumbai outfit showcasing Gupta’s work earlier this year. did, which was titled, A small village, around the corner, over the mountainWhere audiences were encouraged to interact with their sculptures that spoke to their small-town realities. “He’s dedicated to his craft and getting better and opening his mind.”

Meanwhile, Gupta is already anticipating a busy 2025. He will be participating in the Uzbekistan Biennale next year, and he has a project in Paris.

way home Ongoing at Bihar Museum till 15th February 2025.

The writer is a critic-curator by day and a visual artist by night.