In Hungry God, a large cascading pile of pots, pans, buckets and kitchen utensils makes up a towering, shiny sculpture. The use of stainless-steel objects as a medium in Subodh Gupta’s practice carries cultural and historical significance. India, one of the top producers of steel in the world, has seen mass-produced stainless-steel utensils become ubiquitous in everyday life. Replacing objects of various materials that once symbolised different statuses or meanings, these stainless-steel household wares now serve as a cultural signifier. Their widespread use obscures the reality of social and economic disparities.

From another perspective, Gupta’s sculptures acknowledge the beauty and potential of mundane elements of life, which, when transformed as art, are mystified, glorified and given a ritualistic reverence. The quotidian containers in Hungry God reference the vessels of nectar offerings to the gods in Hindu mythology, thus occupying a space in cultural, mystical and religious practices in rural and urban middle class Indians up to the present. The work is a compelling reflection of shifting symbolisms brought about by industry. By turning ordinary items into imposing sculptures, Gupta reflects on the transformation and representations of his homeland and captures the multitudes of definitions and conditions of contemporary India.