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“Can you please call her Hema Hirani, her original name? Her divorce got approved, so Upadhyay is the wrong surname to use,” pointed out Sanchu Menon, a close family friend of the late contemporary Indian artist who was brutally murdered on 13 December 2015, along with her lawyer, Haresh Bambani.
Such was the quiver in his voice, saying no would have been heartless.
On her birthday, The Quint remembers Hema Hirani Upadhyay, responsibly and fondly, for the person and artist she was.
Menon remained silent. He really didn’t have much to say, and yet you could sense the sadness through the phone. “She only left her dogs behind as a memory, Chintan tried to take them away too when he asked the court to seal her Juhu house,” he told me, his anger against Hema’s accused ex-husband rising.
Hema and Chintan’s was a love marriage but slowly the relationship fell on hard times, and ended in an ugly divorce, fraught with arguments and unpleasantness.
Investigation into the double murder is on as the main accused Vidyadhar Rajbhar is still at large. Four others have been identified as associates in the crime, and along with ex-husband Chintan Upadhyay, are in judicial custody.
When I contacted some of her artist friends, I was surprised at how many sent me away simply because it was too painful for them to recall the incident.
Anju Dodiya’s work has, in the past, been exhibited at the Chemould Prescott Art Gallery in Mumbai along with Hema’s.
Her husband, Atul Dodiya, too, has a particular liking for Hema’s installation ‘Loco Foco Motto’, displayed in Milan in 2009. Made out of 1,50,000 matchsticks per chandelier, the theme of construction and deconstruction looms heavily over this piece.
Hema Hirani’s first international exhibition was in 2001 in Australia, where in an installation titled ‘The Nymph And The Adult’, she put together 2,000 life-like cockroaches. The artist’s question - would cockroaches be the only survivors of the then politically and militarily tense environment in Southeast Asia. Her works on megacities, slums, urbanisation, landscape, migration and class differences followed.
“She was a wonderful person; always smiling, never complaining,” Atul Dodiya continued, mentioning how he spent more time with her abroad for various shows. “She was a good friend,” he reminisced. Soon, he too would tell me it was hard for him to talk about her.
After her death, the art community in Mumbai came together to mourn, and fight for Hema because she had become an invaluable part of their personal and professional lives. She took India’s name to international forums without the care of mainstream media attention. She humbly gifted hand-made crochets to art directors after successful shows. She took in two stray dogs, gave them a home, fought through a crumbling marriage with a volatile man, offered to help friends with their children during vacations...the anecdotes don’t end. She may have died before her time, but she lived her life fervidly.
Also Read:
‘Artist: Hema Upadhyay. Medium: Soulful. Year: 2015
Chintan Upadhyay’s Diary Reflects His ‘Troubled State of Mind’
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