Chintan Upadhyay b. 1972

signed, titled and dated 2006 on the reverse

Mutants, Sarjan Art Gallery, Baroda, India, 2006

Mutants (Sorry does not matter any more), Sarjan Art Gallery, 2006, illustrated 

The reverse has a light area of in-active mould running from the top to lower edge of the left side. Approximately 5inches wide at the top and gradually widening to 12inches at the bottom. The area is not visible from the front. This has been tested by a conservator who confirmed the mould is in-active. A couple of minor abrasions to the edges. A shallow crease to the left side, this could be resolved through restretching. Overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Chintan's work is a comment on consumerism and the commercialisation that has resulted from the economic expansion of India. His work addresses how South Asians identify themselves within a global situation. The artist states 'We are acquainted with technology and born with tradition'.Chintan takes these elements of tradition and modernity and pulls them together in the same image. He marks his babies skin with 'provocative and titillating images carefully culled out from the Indian miniature tradition'. The artist compares this cross-fertilization to a DJ remixing a record questioning the originality and identity of the cloned form. For Chintan, 'there are no longer any 'true' or essential identities, instead by virtue of our state of hyper commoditization we are left with [a] series of detached, distanced, alienated and isolated images which are merely 'copies of copy' holding no claims to the essential truth.' (Sanjeev Khandekar)

Initially Chintan studied science but found that art allowed him to express his thoughts and concerns on genetic engineering and cultural hybridization on a global stage. Chintan created the 'Designer baby'; idealised male infants with 'plump and defiant bodies'  that are placed within the realms of society, receptors to the external factors that determine identity and survival. The characterization of the babies has changed; Mutants and Smart Alec have evolved as a by-product of the Designer baby, sometimes they appear angry, arrogant or happy displaying both the anxieties of the artist and society. 

Chintan's work is an ongoing project, he is not returning to the same theme but is producing a continuous performance where his ideas are designed, planned and displayed within the cultural space of the Metropolis. By taking this approach to his work he questions the traditional concept of an 'exhibition' and 'the babies who repeatedly appear in Chintan's repertoire of works have by now gained some sort of brand status not only for them but also for the artist.' ( JohnyML Chintan Upadhyay, Metastasis of Signs, 2008)

In this particular work Chintan uses the taboo subject of Siamese Twins to highlight the potential malfunction in the cloning process of the Designer baby. These 'brand new' perfect babies with their skin tatooed with ancient Indian imagery are joined for life, are they with individual character or duplicates of the same entity?