Bela Gupta has been painting ever since she came out of the Art College. She has always been introspective and self critical towards her own work, who has – being dominated by the ideal self – questioned and rejected her own work several times before finally doing some work which she finds worth exhibiting to the world both in terms of its subject and its technique. She has chosen to paint, in the present series, the unhappy side of human condition depicting images of suffering, starvation and deprivation.
Bela’s art approximates the genealogy of post-modern art - which is in theory not a culmination but a negation of the modern art; the end of representational art, which also means that the border between art and reality has utterly vanished as both have collapsed into the universal simulacrum. Art in Bela’s work has totally penetrated reality. It is the reflection of a basic reality that it masks and perverts till it seems to bear no relation to any reality whatsoever and it becomes its own pure simulacrum.
The simulacrum is arrived at when the distinction between representation and reality, between signs and what they refer to in the real world breaks down. Reality becomes redundant and we have reached hyper reality in which images come together and breed more images without reference to reality or meaning in the obvious sense. In Bela’s recent painting, there is juxtaposition of one perception of reality with another perception of reality. Reality cannot be represented by photography; it cannot represent its meaning, aura or its significance. Reality has to be transformed through line or color or images in a way that it reveals its aura, its soul or its significance. Bela represents the reality by interiorizing time. Her concept of reality is beyond representation/photography, but in the present works it is socially significant.Back