With their new gallery in SoBo, Delhi’s Nature Morte hopes to stamp their imprint on the city’s vibrant art canvas
Subodh Gupta’s installation titled Close to the river where wood is burning, 2023. Pics/Anurag Ahire
The 8.56 CSMT fast from Kalyan is not a place for artistic contemplation. Yet, it was in those crowded confines that this writer worked out the intricacies of Subodh Gupta’s art on the way to Dhanraj Mahal in Colaba. The heritage structure has a new resident in the Delhi-based art gallery, Nature Morte. Founded by Peter Nagy in 1997, the gallery has developed into a hotspot for contemporary Indian artists such as Gupta, Asim Waqif, Martand Khosla, Bharti Kher and Tanya Goel among others. As we walk into the space, it is slowly waking up to prepare for the opening of their first exhibition tomorrow, A small village, around the corner, up in a mountain by Gupta.
Nagy walks us through the gallery, rough and raw in its form. “We wanted to let the space speak for itself, and not whitewash it,” he explains. Designed by Rajiv Saini, the interiors blend the exposed texture of concrete walls with elegant touches inspired indirectly by Japanese architect Tadao Ando’s style, the curator shares. “We love the juxtaposition of the raw space with detailed sophistication. Many galleries look great, but tend to feel similar to New York. We wanted to make this feel like India, and its complexities,” Nagy remarks, pointing to the wood-panelled heritage windows letting in the light.
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Gupta with his installation, A small village, around the corner, up in a mountain; (right) My Village (XXIX), 2022 oil on linen
But, we are getting ahead of ourselves. The new gallery by Nature Morte in Colaba’s art neighbourhood marks yet another addition to the growing art culture across this cultural precinct. Arriving in India from New York in the ’90s, Nagy chose to open a space for contemporary art in Delhi, rather than Mumbai. “It felt too much like New York,” he admits. Now, the decision to open a space in Colaba arrives on the back of an established repertoire and stable of artists. The timing feels right, shares co-director Aparajita Jain. “You want to be at the centre of Mumbai’s art district, and the city is often a trend-setter in terms of taste and the market,” she admits. Things were only set in motion six months ago. The buyers in the city, Nagy adds, embrace risk and have edgier, experimental tastes.
Edgy is certainly a moniker that fits the works of Subodh Gupta. Since his iconic work of A Very Hungry God in 2007, the artist has made use of the familiar — from kitchen utensils to copper pots, stainless steel to bronze works — to explore larger, bolder themes. They all trace back to images from my childhood, he shares. Gupta walks us to an installation, Portrait 1, made of shoeshine boxes and laces. Yet, it stares back. “I remember this Hindi poem, Mochi (Cobbler) from school by Sudama Pandey AKA Dhoomil. He wrote, ‘Sach bataun/Na koi bada hai, na chota hai/ Mere saamne har aadmi/Ek jodi joota hai,” he remarks explaining the origins of this inspiration.
The mixed media installation, Portrait 1, 2015
Another installation, Inside Out (II), features a brass and stainless-steel pot, cut open surrounded by plaster of paris. “Look closely, and it feels like the cosmos,” Gupta shares. This theme is reflected on another work, with cups and pans, titled Big Dipper.
Sensing our confusion, Gupta asks us to peer closely. The years of patina leave spotted marks that make us recall the English poet William Blake. Gupta directs our attention closer to home. “I am very fond of Kabir’s poetry. He writes, ‘Is ghat ke andar saat samandar/Isi mein srijan saara/Is ghat ke andar paras moti/Isi mein naulakha haara’ (This pot contains the seven oceans/This one, the entire creation/This pot contains jewels and pearls/This one the entire necklace),” he quotes. Every utensil might look similar, but they have character. “There is a history of who eats in it, where. You can imagine the stories behind them, but never truly know them. They have souls. That is what excites me about working with them,” the artist remarks.
A view of the gallery interiors
With seven installations and nine canvas works, the exhibition brings a completely new side of Gupta to Mumbai. Nagy adds, “His paintings are more rural and minimal than they have been from the past. It is a blend of found objects and made objects put together in these combinations.” The works are closest to his self, Gupta admits. The opening exhibition will also set the trend for the gallery. Jain shares that the gallery will be a platform to showcase artists from Delhi and overseas. Nagy reveals that a show in March with Lorenzo Vitturi, followed by another with Matthew Brown later in the year are already in the works. “There are a lot more possibilities,” notes Jain. That seems like a good note to start the year on.
Co-directors Aparajita Jain and Peter Nagy
Opens January 19 till March 19; 11 am to 7 pm
At Nature Morte, third floor, Block A, Apollo Bunder.
Free
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