THIS TOO SHALL PASS

Shetty’s art offers a subtle critique on the idea of the ‘Museum object’ as objects that were once markers of high taste or imbued with the sanctity of ritual, are now no longer relevant except as a “memory bank” as their meaning has been voided both in terms of use and symbol.

Each artwork in the show is a staged event flaunting its moment of truth and glory. “It's the dystopia of the city where the tenses are confused and the unreal becomes real” says Shetty.

This installation illustrates a crashed car that takes on a new life through manipulation of material.

Instead of symbolizing its horror, the material seduces the viewer with its texture and colour. Displayed as a trophy it underscores the dark side of art production and consumption.

In the Museum's central atrium, standing in front of the statue of Prince Albert, was a life-size gilded sculpture depicting a toppled statue of the artist on a worn out pedestal. Mechanically linked to the statue was a coin-box, which would act as counter weight and would gradually resurrect the statue as enough coins were put into it.

This signage was mounted above the portraits in the Founders' gallery

This forbidding installation was of a skeletal rocking horse, made of Aluminum and Wood.

In the central room of the Special Exhibitions Gallery, a magnificent oversized cage reminiscent of a palatial entrance entices the viewer with its scale and beauty.

Carved on either side is the mythical tree of life. The entrance beckons while a sword swings menacingly in its recesses, like a pendulum slicing time.