‘I am keen to explore the challenge’: Subodh Gupta on his newest exhibition at Le Bon Marché

In an interaction with indianexpress.com, Subodh shared more about the exhibition, his journey as an artist, and how he perceives his audience.

Why did you choose the name ‘Sangam’? What is its significance in the context of your work?

‘Sangam’ means confluence. In Hindu mythology, it is the point where three holy rivers, namely Ganga, Yamuna and Saraswati, converge. The place itself has become a prime location for pilgrimage. In a similar vein, Le Bon Marché serves as a confluence of people coming from all over the globe. One might say that it is a human river. From the point of view of the artworks, the event is going to be the confluence of second-hand and new objects in the store. It is a confluence of two nations, two cultures, the confluence between art and commercialism. ‘Sangam’ is an opportunity for everyone to wonder at the confluence they find themselves at.

The exhibition named ‘Sangam’ showcases art installations made out of hand-me-down pots, pans and bowls. (Image Credits: Le Bon Marché)

What are the materials you have used in your works? And is there any reason for selecting these specific materials?

All the artwork present here are made up primarily of old aluminum utensils collected from markets. The aim is to reincarnate these used and discarded utensils as a work of art. Each of them has its own character; they have already lived a first life. The utensils are marked by the traces of time– every single scratch or mark on them tells a story about their journey. They, too, serve justice to the name; it is a ‘Sangam’ of the lives and characters of these utensils.

If you could walk our readers through the mode of this show, which is different from stereotypical exhibitions…

The show is being held at Le Bon Marché, Left Bank, a Parisian modern high-end departmental store with an elegant atmosphere, where a set of my works, created especially for this purpose, will be showcased for over a month. On either side of the escalators inside the space, two monumental installations have been created, and each pour out a stream of mirrors, reflecting the many facets of Bon Marché and its visitors. On the second floor, under a glass roof, there is a suspended circular hut, which is a place open for meditation. At the exit of the installation, a film that depicts the creation of the exhibits is being displayed, extending the visit for the audience and deepening their understanding of the approach. This isn’t an exhibition gallery, so the crowd here is far diverse as they are not just audiences of an art exhibition.

On either side of the escalators inside the space, two monumental installations have been created, and each pour out a stream of mirrors, reflecting the many facets of Bon Marché and its visitors. (Image Credits: Le Bon Marché)

Stepping outside the enclosed spaces of art galleries and museums, how does this new form of exhibition appeal to you?

I am keen to explore the challenge of this unconventional heritage art display place. The environment is stimulating, and the presence of the white colour in this space is like an extension of the feeling of peace and serenity. Being a thespian before, the challenge of performing in unconventional spaces has always enthralled me. If I can draw a parallel between my past and present, Bon Marché is like an open theater for my works, and my creations are like the performers in the play.

Delving a little into your past, how has your upbringing influenced your ideas as an artist?

I lost my father at a very tender age, so the onus of my upbringing fell completely on my mother. She used to take me to watch theatre shows in my childhood, which is where my love for theatre was born. After graduating from school, I went to Khagaul and joined a theatre group as an actor. Now, in rural areas, theatre groups work differently from those operating in the metropoles. I think that was a boon, for it provided me with an exposure to diverse fine arts fields.

You mentioned your association with theatre in your youth. From being an actor on a theatre stage to pursuing a career in fine arts, how did this transition happen?

Like I mentioned, theatre groups function differently in rural and urban areas. Back in those days, I used to design and paint posters for our plays, and then a few of us would go around the locality to set them up. In the process, I took an interest in paintings, and eventually decided to join the arts college (College of Arts and Craft, Patna) after discussing my options with a few of my peers. By virtue of my education, I realised that fine arts provide you with as much option to express yourself as performing arts; maybe even more. It is boundless, there is a lot of room for experimenting with your elements. Eventually, I shifted my focus to art installations, as I found that it is easier for the audience to relate with a creation if they come across items of everyday use. The exhibition at the Fukuoka Art Museum in 1999 was the point where my career took shape and provided me with a much-needed impetus to follow this path.

Over the years, you have worked with a myriad of materials in your creations. However, what is the one material you like to revisit, time and again? 

Kitchen utensils– I can never get tired of them! Pans, bowls…you name it. I have been fascinated by them since my childhood, for these are items I have grown up watching in my own kitchen. Like I mentioned before, they all have characteristics of their own, they’ve led distinct lives. It’s like Samudra Manthana– the more you churn them, the more you discover. Even after so many years, every time I lay my hand on a utensil, I am enticed by it. In those lines and scratches, I see the entire cosmos. It’s a never-ending love affair, I believe.

The artist said that kitchen utensils are his preferred choice of materials for creating his art installations, and he can never get tired of them. (Image Credits: Le Bon Marché)

As an artist, do you wish to give any message to our readers?

Many in our ranks have this notion that art exhibitions are for the opulent– and by opulence I refer to the ability of perceiving complex artworks and having a deeper understanding of art. Nothing can be far from the truth. Among many so-called commoners, you will find individuals who not only understand the initial idea behind an artwork, but come up with iterations of their own which might surpass the artist’s intellect. That’s what art does– it gives everyone an unbiased opportunity to perceive a work the way they want to. So never, ever, underestimate your audience, for art is nothing without the people it is supposed to reach out to.

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