View To Scale
View To Scale
Oil on linen
Dimensions: 150.0cm(H) x 120.0cm(W) x 3.0cm(D) / 59.1"(H) x 47.2"(W) x 1.2"(D)
Note: Actual colours may vary due to photography & computer settings.
Life can only be understood backwards; but it can only be lived forwards." Where we have reached today, depends on the path we had chosen in life. Life is no different from a natural surface, as the texture of it depends on the weather and geographic conditions it has been exposed to. Likewise our perception towards life develops as per what we have been through. We always think that we are following our dreams and future, but in reality it is the past which we are following.
In ‘walk of life’ one couple is watching a person who is walking ahead of them. The surrounding is an urban landscape where the artist lives. The body language of all three figures in the frame is casual, as they are taking a lazy walk.
The use of oil paint allows the artist to capture the detail, beauty and surface quality that she desires. She seeks to portray her visions in realistic manner but at the same time she retains the painterly quality of it. This painting is the result of a long-drawn-out thought process, which allows her to add deeper message to it. This work portrays the people who she is familiar with, but not part of her everyday life.
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Based in: Singapore
Shubhi is a contemporary-oil-painter graduated in Fine Arts from Lasalle College of Arts. In 2017 she won the prestigious Clifton Art Prize People’s Choice Award for Singapore. She is also one of the finalist of the Signature Art Prize, London 2018/19.
Shubhi Gupta seeks inspiration from personal experiences, intimate places,
nostalgic memories and familiar people. Her paintings often appear like
photographic snapshots of an angle the artist wants to capture for eternity.
Her photographs however always indicate perfect and flawless detail of the
Shubhi Gupta’s paintings also capture everyday moments, but in a way that
you feel connected - the viewer enters their own life. One looks at the
painting and a story unfolds in their mind, either about the possible person
living there or personal memories one shares with the depicted plot.
She often does not paint people’s face, this way she detaches them from
their identities. She comes with an idea that race can obstruct people’s
acceptance. It can restrict the viewer’s thought to specific religion or
nationality. She wants the viewer to encounter her work beyond these limits.
As she believes these limits are drawn by society and human psychology does
not vary across races.
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