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Deeply aware of the limitations imposed on the individual by social mores, economic status and political positioning, Sudarshan Shetty deliberately uses whimsical and irrational combinations of objects and subjects in his work to free his viewers, if even for a moment, from the routines and impositions of daily life. Initially trained as a painter at the Sir J.J. School of Art in Mumbai, Shetty’s oeuvre presently straddles media ranging from... Deeply aware of the limitations imposed on the individual by social mores, economic status and political positioning, Sudarshan Shetty deliberately uses whimsical and irrational combinations of objects and subjects in his work to free his viewers, if even for a moment, from the routines and impositions of daily life. Initially trained as a painter at the Sir J.J. School of Art in Mumbai, Shetty’s oeuvre presently straddles media ranging from painting and photography to kinetic sculpture and installation art.

In the bizarre, alternate worlds that the artist constructs, life-size dinosaurs make love to automobiles, large silhouetted bananas float above calm water bodies, and milk is distributed throughout a settlement through a convoluted maze of black and white pipes. “Disequilibrium and flux are among the mainstays of Sudarshan Shetty’s work. He uses juxtaposition, displacement and subversion as conscious strategies to upset accepted ways of seeing….He uses irony to make a pertinent comment on prevailing consumerist attitudes in market-driven scenarios – he is informed by the city in which he lives as also by prevailing global aesthetics. Shetty’s preoccupation lies with the emotive content of objects, as well as with the changing emotional contexts that get created by shifts and through sheer dint of association. Increasingly, his is a poetics of loss” (Anupa Mehta, “Unsteady Equilibrium”, India 20: Conversations with Contemporary Artists, Mapin Publishing, Ahmedabad, 2007, p. 188).

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