Subodh Gupta “The Damien Hirst of Delhi” presents his art with the Theme of Food.

Subodh Gupta's major focus is food. His most well-known trick is creating sculptures from pots and pans, which he views as symbols of down-to-earth Indian culture. He represents his every work inspired by his childhood and the place where he comes from. His latest artwork is exhibited in Hauser & Wirth Exhibition in Delhi that shows the personal touch of Gupta’s life.  

Audiences will always be amazed with Subodh Gupta’s artwork not only because they are beautiful but the art has always a back story which belongs to the Subodh Gupta. So, let the exploration start. 

1: Very Hungary God (2006) 

Subodh Gupta is a New Delhi-based artist whose works overtly reference his cultural background while utilizing easily recognized, commonplace materials. Such a work of art is "Very Hungry God" (2006). It weighs about a ton and towers ominously over onlookers at 94.5′′ x 59′′ x 80.75′′. It is made from recycled stainless-steel containers. 

Anybody who has ever had the opportunity to enter an Indian kitchen would have observed two things: It will be pristine whether it's in a 10-bedroom house or a one-room chawl flat. Additionally, it will have a wide variety of pots, pans, and stainless-steel containers, all of which will be neatly stored on a rack made just for them.   

2: Line of Control (2008) 

Line of Control (2008), a massive mushroom cloud that helped Gupta become the Tate Triennial's breakthrough star in 2009. This piece of art is modern art at its most unimpressive, suitable only for an ominous sound bite and a picture opportunity. 

3: This is not a Fountain (2011-13) 

‘This is not a fountain’, a 25-foot-long, 9-foot-wide pile of his specialty meals from 2011 to 2013. Several spigots protrude through the jumble of pots; they are all turned on and pour water out over the pans, where it disappears, likely into a floor drain, bubbling cheerfully. 

The posts of ‘This Is Not a Fountain’ are scratched up close, as though from frequent usage. The piece alludes to household life in India, using the accumulation technique used in modern art, and references Marcel Duchamp's Fountain and René Magritte's "Ceci n'est pas une pipe" in its title. It is quite substantial and dominates the area. But they all seem to have been put together haphazardly, like components for a dish. 

4: Everything is Inside (1999-2014) 

The phrase "everything is inside" frequently appears in Gupta's works. Here at the National Gallery, which was constructed by laborers who arrived in the city with their packaged belongings and carry their lunches in stainless-steel lunchboxes, these installations and sculptures appear to be monuments to the lives of regular people in India. 

5: Imperial Portrait (2014)

Think about Imperial Metal (2014), which has a stack of gold rebar on top of a burned-out table. The cliché of turning common goods into priceless replicas and serving it up as some sort of hazy, gold-plated commentary on "power, money, and urbanization" might be taken straight out of the Big Book of Art-Fair Clichés. 

6: Family Portrait (2013) 

Although it doesn't appear like much, a wall writing in the manner of a museum tells that each of the three dish racks really came from the house of one of Gupta's three siblings. The sculpture presents the items found in their actual kitchens, allowing us to notice details about their potential selves. It seems as though the artist has resorted to conveying "Indian identity" in an anthropological manner rather than an artistic one since the need to testify about it is so pressing. 

There is one more artwork that is very close to Subodh Gupta exhibited in the Sculpture Park at Madhavendra Palace. This exhibition took place in the great hilltop Nahargarh Fort that overlooks Jaipur, a city more associated with Rajput palaces and folk arts than modern art installations. Here in this fort, Gupta represents a piece of work that highlighted his early life. 

7: Doot  

An ambassador vehicle that is not an ambassador vehicle is parked in the courtyard of the Madhavendra Palace. It is a sculpture by Subodh Gupta with the Hindi name for an ambassador, "Doot." However, this automobile weighs more than a genuine one would because it was cast in aluminum. The vehicle, which was formerly synonymous with official India and the joy of every foreign visitor, is no longer manufactured and represents the License Raj and a closed economy. Ghostly and impenetrable, Gupta's "Doot" reveals nothing about its past or contents. It is a typical Indian object that the artist grew up with that has been given deeper meaning by its widespread awareness in India, like most of Gupta's sculptures. Although one cannot travel anywhere in this Ambassador, it has made many trips as a symbol. 

When you look at Subodh Gupta's work as a whole, you notice that there are many loose ends: personal experiences that appear mostly unprocessed as well as art cliches that feel quite generic. This irresolution is the distinguishing feature of a world of art that has developed at an accelerated pace; a machine whose circuits linking these two poles never actually closed, allowing form and content to mutually modify one another into something really significant and novel.