MAYUR GUPTA SCULPTURES AT LATITUDE 28 GALLERY

In What Form Retains geometry is not aesthetic decoration; it is a way of thinking, almost a moral position

There is something profoundly reassuring in the way his forms hold themselves. They do not collapse underpressure; they absorb it. Mayur’s sculptures possess that rare quality of quiet authority. Over the years, I have come tovalue artists who remain committed to a language, who deepen it rather than abandon it for trend or spectacle.

— Bhavna Kakar, Gallery director, LATITUDE 28

Gazing at the alabaster transport-projectiles streaking linear, one finds impassioned expression glaring with a static-dynamic fixture, tearing you apart. Mayur Gupta sends objects rippling across its subtle forms.

'Deportation' opens up a can of misted visions jiggling across you. Can of worms or cookies? You are deported across a deep subjectivity into a public language.

Having engaged with artists shaped by the pedagogical rigour of Baroda fordecades, I recognise in Mayur’s work that discipline of thought, where material, proportion, and equilibrium are inseparable. Yet beyond its intellectual clarity, what moves me personally is the stillness the work generates. In a time of acceleration, these sculptures insist on pause. They ask us to stand in front of them,to measure ourselves against axis and centre, to experience containment not as limitation but as strength.

— Bhavna Kakar

Mayur Gupta stokes intonations with objects. Exposition of 'Memories' seizes you off-guard.

These blobs of melding memory trickles from surrealist dreamscape into dimensional bronze to represent the fluidity of time and space vis-a-vis the malleability of subconscious reality fluttering upon patina to keep resounding with existence. The resounding verdigris splays time alike a microtome to behold wafting microtunes of persistence.

Patina on bronze lends its time dimension. I find John Muir saying, "Between every two pines is a doorway to a new world."

I've seen "The Speaking Tree" by Gulammohammed Sheikh with its Chinar tree and also "The Tree of Life" by Manav Gupta, but here Mayur goes primeval rotunda with its cogent expression doing rounds in elemental coop flight.

A flurry of ideas and tales burgeon from the peregrination of life journey.

The peregrine bears fruits for all.

John Bunyan's The Pilgrim's Progress—describing the difficult path toward the "paradise" of the Celestial City is:

"The difficulty will not me offend.

For I perceive the way to life lies here.

Come, pluck up, heart; let's neither faint nor fear.

Better, though difficult, the right way to go,

Than wrong, though easy, where the end is woe."

Mayur Kailash Gupta is a Baroda-based multidisciplinary sculptor whose work engages with Tantric philosophy, Indian architectural traditions, and material exploration. Working with wood, metal, stone, and paper pulp, he creates sculptural forms that emphasise balance, structure, and spatial relationships. Drawing from childhood memories and his mother’s artisan practice, his work reflects on silence, impermanence, and the interplay between material presence and philosophical thought.

With over three decades of experience teaching architecture, Gupta brings an architectural sensitivity to his sculptural practice, exploring proportion, rhythm, and spatial dynamics through form.

At LATITUDE 28, we believe exhibitions must open a space for reflection rather than simply display objects. This exhibition does precisely that, it reminds us that form, when deeply considered, can hold memory, tension, and time.

— Bhavna Kakar, Gallery director, LATITUDE 28

VISUAL ARTS