Shilpa Gupta is an artist from Mumbai, India. She received her BFA in sculpture from the Sir J. J. School of Fine Arts in 1997. Her mediums range from manipulated found objects to video, interactive computer-based installation and performance.
She is interested in human perception and how information, visible or invisible get transmitted and internalized in everyday life. She is constantly drawn to how objects get defined, be it places, people, experiences and her work engages with zones where these definitions get played out, be it borderlines, labels and ideas of censorship and security.
Untitled (Gate) by Shilpa Gupta
In Untitled (1995-96), where the artist anonymously sent via post, 300 drawings, which were numbered and stamped several times. In Untitled (1999) Gupta takes on the role of the pilgrim, visiting holy places to get her blank canvas blessed.
Blame by Shilpa Gupta
In her work Blame (2001) the artist distributes bottles of simulated blood both indoors and on streets and in trains. Gupta has created a number of projects that map the effects of the 1947 partition. She was one of the artists spearheading the Aar Paar project (2002-2004), which sent works by various artists across the India-Pakistan border.
In our times by Shilpa Gupta
In Our Times (2008), which consists of two microphones at the ends of a pole that swings back and forth,the inaugural independence speeches from 1947 by Jinnah of Pakistan and Nehru of India—suffused with hope—can be heard.
Wives of the Disappeared by Shilpa Gupta
Gupta's multi-channel work Untitled (Wives of the Disappeared), 2006, addresses the concerns of women in Kashmir whose husband have gone missing. Gupta has produced a series of sound based installations since 2001, from speakers woven onto fabrics, to microphones that emit sounds to interactive audio based installation.
Singing Cloud by Shilpa Gupta
Threat by Shilpa Gupta
Threat (2008) is a work made of a wall of soap designed to look like individual bricks, with the word "threat" written across each one. She has consistently pushed the boundaries of art practice from her earliest interactive works in the mid 1990s, followed with websites, touch screens to large scale interactive video projections.