It was a normal winter weekend for the Indian art fraternity before news broke about the tragic death of artist Hema Upadhyay. What shocked and stirred them more was the horror and torment she went through just hours before her death.
Known for her use of photography and sculptural installations to explore notions of personal identity, dislocation, nostalgia and gender, she grew rapidly in the Indian art scene after a slow beginning. She firmly established herself among the new generation of Indian contemporary artists with ease. Her every art piece narrated a story to the viewers and had a reflection of one’s phobias and shortcomings. Close friends and associates of Hema share their memories about this amazing artist.
One word I would use for Hema is ‘warmth’. One of those artists who was always open for new ideas and challenging her artistic limits. But at the same time, she was very easy to work with. She wasn’t confused about her work, and was sure about what she wanted to do and was never bothered about the market. I have collaborated with her for numerous projects and most of the times it was about how she could do better in her work. Her patience could be seen in the way she played with small objects in her work. The meticulous cutting and eye-for-detailing made her stand out among her contemporaries. She never let her personal turmoils dominate her life. I remember calling her after hearing about her fall out with Chintan (her husband). She responded stating, ‘Whatever is happening is very unfortunate. We are trying to resolve the issue as amicably as possible.’ Even then, she surrendered herself to art and was completely focused. The art world is deeply saddened today, but even more so because of the nature of her dismissal.” —Alka Pande, art curator
In 30 years of writing, I have come to learn that you can tell about an artist by the titles they use. I didn’t know her personally, but I was intrigued by the titles of her shows. Her first show was entitled “Sweet Sweat Memories” in 2001. In the same year, she had her first international solo, “The Nymph and the Adult”. I felt she was a thinking artist. Everything she created was a commentary born out of her experiences and observations in Mumbai. By 2012, sadness suffering and trauma wove into her works and we saw a tender soul full of angst. She loved the use of metaphoric moods and alliterative terms, imagine calling a show “Mute Migration”! Although, her last show at Chemould in Mumbai was brilliant and full of irony, “Fish in a Dead Landscape” was a testimony to what man has done to the environment. The details of her body being undressed and wrapped in plastic signifies a lot of hatred and viciousness. The sadness of her death is in the futility of jealousy. Indian contemporary art has lost a genius with a beautiful soul. Imagine her body in a drain — a dead landscape, she lay there lifeless like a fish-heartbreaking scene. Like a Shakespearean tragedy! — Uma Nair, curator
The Indian art fraternity has lost a great artist who always presented an alternative perspective through her work in this polarised art community. It seems like yesterday when she expressed her interest to be present at the opening of Sensorium Fest at Sunaparanta, Goa starting on December 14. One of her work is being showcased there through our gallery. She was very excited about the project and created a work using rice (her latest medium of art), themed around love. I would always remember her as an artist who was always open to experiment with a new idea and never shied away. — Roshni Vadehra, Vadehra art gallery
I would call her an aggressive artist who had a zeal for profession. On personal level, I knew both Chintan and Hema very well. They never let their personal differences seep into our friendship. I was shocked to hear the news of her dismissal as Chintan and I were together on Friday night attending dinner party at a common friend’s place. And in a time like this, one does not know how to react as one friend is no more and the other is in distress. I just pray to god to give enough strength to his family. —G R Iranna, artist
Hema’s works often were representations of her life, whether her shifting to Mumbai from Vadodara or her emotional turmoils. In the early 2000s her works reflected on urban entropy through a feminist perspective by reconfiguring the genre of self-portraiture. She was a gift to the contemporary Indian art and her death is deeply upsetting. —Anu Bajaj, Art Positive
Hema was a friend I met rarely but like old school friends, we would start as if there had been no hiatus. She was gentle, loving and full of warmth. Even at times when she was low, she would be like a soft breeze soothing those around her. Being in different cities, we didn’t meet often. However, there was always an unsaid connect. She was an artist of great sensitivity and integrity. What also keeps coming back to me every time I think of her is the absolute love and joy with which she took care of my six- month-old son Angad when we had gone for an All Womens Art camp to Cambodia. Bringing along my small child for the first time to an art camp had made me nervous. She took care of my son during the seven-day trip. Hema mothered him, changed his nappies, took him for swimming much to his joy and probably even taught him to take his first steps by resting his tiny feet on hers, taking long strides much to his delight as she held his arms tight. She gave unconditional love to those she surrounded herself with. I will miss her and so will all those with whom she shared her beautiful, brief journey. Her soft presence will be felt through her powerful works. She will be with us till we continue looking for beauty. — Manisha Gera Baswani, artist
