ELLE DECOR > IDEAS YOU CAN USE

He is best known for using tiffin boxes, cycles and ordinary objects. And turning these into sculptures that reflect the economic changes of the country. Based in New Delhi, this one time art professor has become the vanguard of regional contemporary art. From his first showing in Patna in 1986, Subodh has come a long way. He made his debut offshore with an exhibition in New York, 1997 and has subsequently been increasingly featured overseas. His 2007 Bodhi show in Mumbai, was the last one here.... ELLE DECOR catches up with the man showcased by three galleries abroad at Art Hong Kong 2010.

ELLE DECOR: Is Indian art in the globalised world becoming fragmented?

SUBODH GUPTA: It has many forms. If you are talking about the contemporary narrative then I think it has its own language, which fits in well in a global context.

ED: What is the significance of galleries worldwide curating Indian artists and its implications on the industry as a whole?

SG: Post Chinese art markets booming, Indian works too, started getting attention. Curators and institutions saw its potential. It feels good that our art is being viewed at the same level as other contemporary genres.

ED: The advantages of being represented by an international gallery?

SG: It certainly changes your point of reference. New York, London, Paris...have a vast travelling audience that scour the art market on a regular basis. We haven’t seen such movement in our cities yet. ED: Will art be increasingly disseminated through international fairs? Is the curator taking over the role of the traditional agent and gallery?

SG: Art fairs are primarily about the business of selling and providing access to vast amounts to a bigger audience in a short span of time. Museums, public institutions and galleries are responsible for promoting art and artists. Similarly, a curator cannot take over the role of a dealer or gallerist.

ED: You have shown everyday objects through various mediums and constructs, making these seemingly simple items iconic of your work – why has this been so evocative in the art world?

SG: (Laughs) You will have to ask them. A lot of artists work with readymade objects, but eventually it’s the artwork that’s important, not the objects used. Items change meaning when they’re reinterpreted.