A series consisting of six large sculptures and five large paintings, “Iconic Shrine” represents a distinct progression in Chintan Upadhyay’s discussion of cultural hybridism. The baby, a signature motif in his oeuvre, is featured in disparate incarnations, varying in dimensionality and diversity of media. Each sculpture is 150 cm and, when exhibited at the Jawahar Kala Kendra in Jaipur, India, they were arranged in a circle with all the faces looking outward. Together, these infant heads have become the walls on which scenes derived from Indian miniatures are applied, a gesture toward tradition and a platform for symbolism. They are Shekhawati miniature wall paintings—comical, naive pictures that portray the lives and pastimes of Europeans by early artists who never witnessed, but only heard about the lifestyles of the foreigner—an oblique commentary on inherited cultural hierarchies. Every one of the babies is then bestowed with an emotive expression, perhaps the artist’s alter ego responding to today’s discombobulating world.
The paintings of “Iconic Shrine” collectively narrate the epic of Samudra Manthan, an event from Hindu mythology where gods and demons went on a quest for Amrita, i.e. nectar for immortality. The tale itself talks about a time of great change, much like our present and possibly the future in which the babies will live. Perhaps it is this prospect that prompts their many expressions? The dramatic colors heighten the sense of portent, or are they especially poignant reflections on the anticipated, welcome challenges in life? Both sculptures and paintings demanded intense production processes and involved experienced craftspeople and local artists in Jaipur, Rajasthan who have, for generations, preserved the legacy of painting miniatures.
“Iconic Shrine” premiered at Jawahar Kala Kendra in Jaipur, India, in February, 2009. Elements from the project were also included in Roundabout at the City Gallery Wellington, New Zealand and the Tel Aviv Museum of Art, Israel.
