How does an artist see stillness? Satish Gupta on balancing dualities

Walking into the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) museum, past the gate and security check, one is almost immediately enthralled by the monumental presence of the Buddha. Absolute zen greets you—there’s the lush garden, families gathered around, and, undoubtedly, the Buddha itself. I spotted a child clutching an elder’s fingers, likely his father, and bombarding him with endless questions about the sculpture. That scene took me back to two or two and a half years ago when I first visited, though then I wandered alone, just exploring the surroundings, until this installation seemed to stop time for me. This time, however, I knew it was Satish Gupta’s creation.

Over three decades, Gupta has crafted a unique design philosophy—one deeply infused with the spiritual grace of Zen, where dualities coexist: light with shadow, stillness with raw energy, minimalism with bursts of colour. In our conversation, Gupta delves into the philosophies and life experiences that have shaped his work. From the influence of Zen masters to the introspective beauty of Chinese art, he shares how he navigates contrasts in his work, collaborates with global icons and channels the power of creating art that resonates with people on a profoundly spiritual level.

1) Can you start by telling us about your design journey and how you got started in the field?

Satish Gupta: My design journey began nearly 30 years ago with the creation of my studio, ZAZEN. At that time, my art practice was evolving into a more minimalistic approach as I sought Shunya, the empty Zen circle known as The Enso. A profound spiritual experience in a monastery in Sikkim deeply transformed my life, leaving me feeling that I had expressed everything I wanted to as an artist, to the point where I could no longer create until I found my way back to the Thar Desert. There, I was inspired to start drawing and painting its people, resulting in an explosion of colour that contrasted starkly with my previous nearly monochromatic canvases that had little form.

The studio design reflects this duality—both minimalist and maximalist—a paradox that mirrors my art, which remains boundlessly free. I create and design based on my feelings in the moment, unconfined by any fixed persona.

2) How would you describe your design philosophy and how does it influence your work?

Satish Gupta: My design philosophy is deeply influenced by zen aesthetics, embracing the interplay of opposites: light and dark, volume and empty space, the ethereal and the solid. It draws upon the principles of wabi and sabi. I enjoy juxtaposing contrasting elements, like raw stone with smooth silk, and blending traditional with contemporary to create a harmonious whole.

3) What has been the biggest influence on your design work?

Satish Gupta: My design influences are shaped by a diverse array of artistic and architectural icons. Isamu Noguchi’s sculptural approach and Zen gardens resonate deeply with my aesthetics, as do the traditional Chinese painting principles outlined in The Mustard Seed Garden Manual of Painting and The Principles of Chinese Art. The timeless elegance of Chola bronzes and the architectural grandeur of the Kailashnath Temple at Ellora inspire me with their intricate artistry and spiritual depth.

Above all, I am captivated by the work of Frank Gehry, the renowned American architect who designed the Museum of Contemporary Art (MARCO) in Vigo, Spain. I greatly admire his innovative design aesthetics, which blend fluid forms and dynamic structures in a way that aligns with my own creative vision.

4) I have seen the Buddha sculpture at CSMV. It is one of its kind. What was the brief given and how did the ideas of keeping it at an angle come.

Satish Gupta: There was no initial brief for The Buddhas Within. My inspiration came after narrowly escaping the tsunami in Sri Lanka through sheer good fortune. I wasn’t at the hotel in Galle where many lives were lost; instead, I found myself in the Dambulla caves, sheltered in the presence of Buddha. It took me eight years to process the profound experience of being spared.

When I began creating the Buddha’s face, the sculpture stood 23 feet tall. As I worked on the upper portions, climbing up and down the ladder became exhausting. To ease the process, we used a crane to lower the sculpture to the ground. During the descent, the sculpture tilted at an angle that struck me as perfect, so I decided to freeze it in that position. Instead of crafting the hair at the back, I sculpted a full life-size reclining Buddha, accompanied by 1,500 smaller images reminiscent of the cave, enhancing the spiritual depth of the piece.

5) How do you incorporate new technologies or materials into your designs?

Satish Gupta: My sculptures evolve organically, shaped by a fluid and intuitive process. It’s not so much about using new materials—copper remains my favorite medium—but rather the tools and the incorporation of new technologies that I apply in the finishing touches of my sculptures.

6) Your work is renowned for its spiritual and zen qualities. How do you integrate these elements into your art, and what role does spirituality play in your creative process?

Satish Gupta: I don’t separate my life from my art; it’s all one continuous flow. I don’t consciously try to infuse spirituality into my creations—my entire life is a meditation, so tranquility naturally finds its way into my work. When you are open to the Universe, wonderful things happen, like Sadhguru visiting my studio and asking me to create the Utsav Murti of Linga Bhairavi.

Like many, I have faced my share of tragedies and challenges: losing my father in a plane crash when I was just 4 ½ years old, undergoing brain surgery, enduring multiple broken bones, and surviving life-threatening encounters. These experiences profoundly shape you, making you acutely aware of life’s transient nature and the beauty of living fully in each moment.

7) Your collaboration with Prime Minister Narendra Modi on the Om Namo Shivaya sculpture for a charitable cause is particularly noteworthy. How did this collaboration come about, and what was your approach to creating a piece that resonates on both artistic and philanthropic levels?

Satish Gupta: One of my favorite charities, Khushi, invited me to collaborate with the Prime Minister on painting a canvas when he first took office. At the time, I was deeply involved in creating works centered around Shiva, both in sculpture and painting. The work-in-progress canvas that we were working on together was shown to him, and he loved it, graciously accepting the offer. I was thrilled that this painting, which fetched the highest price, allowed me to contribute significantly to Khushi. It’s a meaningful way to give back to society and share the fortune of being in a privileged position.

8) The Wings of Eternity sculpture and the one-mile-long painting MA involve public interaction and performance. How do you view the role of audience interaction in your art, and what impact do you hope these interactive works have on viewers?

Satish Gupta: I am a very private person, but I love sharing my creations with the masses—it energises me, especially since I spend most of the year isolated in my studio. I rarely socialise, but when I present my work in front of hundreds of people, there’s a unique energy that flows between the audience and the art being created. It’s a magical experience. The viewers’ response directly influences the artwork, much like a ‘Jugalbandi’ between two musicians. With these interactive works, I hope the audience becomes more attuned to art, experiencing it outside the confines of galleries or museums. Art is coming directly to them.

9) Can you tell us the story behind the Vishnu sculpture and the magnificent golden tree of life that you have created for the Ambani family at their home

Satish Gupta: My first major sculpture, a 12-foot head of Shiva titled Kalyansundara, was purchased by a private collector for his collection in the Himalayas. However, I wanted the sculpture to be seen by a wider audience, so I created a book called Centering Awareness. This book featured interpretations of the sculpture by various photographers and included essays from writers and critics. Though the book was still in progress, the manuscript was ready and was displayed at the Jehangir Art Gallery in Mumbai, with the sculpture at the center of the installation. The plan was to showcase the sculpture in several cities before it went to the collector.

During this time, Mrs. Nita Ambani purchased several paintings from the exhibition and asked me to install them at Nariman Point. When I met her, she mentioned having heard a lot about the Shiva sculpture and expressed a strong desire to see it. Unfortunately, the sculpture had already been sent to Kolkata that morning, as it was the last day of the show. I told her the sculpture was no longer there, but she was welcome to view its photographs at the gallery. She quickly joined me and visited the gallery to see the images.

The Shiva sculpture is a ‘Swayambhu,’ a self-created work. I genuinely believe that the sculpture created itself through me, but the intensity of the energy involved in its creation was overwhelming—so much so that I nearly lost my eyesight during the process. A dear friend advised me to create a Vishnu sculpture to restore my health, as Shiva is like a black hole that absorbs energy, while Vishnu represents a supernova where energy flows upwards.

When Mrs. Ambani asked what I would like to create for her, I mentioned Vishnu without knowing she was a devotee. She asked about the size, and I initially said 18 feet tall, though it ultimately grew to 23 feet. The creation took two years with a team of 20 assistants, involving the meticulous welding of over a hundred thousand one-inch copper pieces—a true masterpiece.

For her 50th birthday, Mrs. Ambani requested a golden Tree of Life. Given the tight timeframe, this work was created in just a few months. It stands as one of the most opulent pieces I’ve ever made, symbolising joy, abundance and hope for man-kind. It was a privilege to see it displayed in the central cupola of Umaid Bhawan for the special occasion, and it now resides in Antilia.

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