The selected works of Anuragk Gupta reveal a painter concerned not with representation but with perception. The images operate less as pictures and more as experiential fields in which colour, movement and rhythm guide attention inward. Recurrent spiral formations and luminous centres appear as visual metaphors for awareness, inviting the viewer into a contemplative encounter rather than narrative interpretation.
Across these paintings, landscape, abstraction and inner space gradually dissolve into one another. The viewer is not asked to understand a story but to inhabit a state of observation. The paintings function as thresholds — where looking becomes sensing and sensing becomes reflection.
Anuragk Gupta’s paintings occupy an interesting position between spiritual symbolism and contemporary abstraction. Rather than illustrating metaphysical ideas, the works create visual environments in which perception itself becomes the subject. Light is not depicted as illumination of objects but as a field of attention.
The spiral forms recurring across his practice act not as motifs but as structures of experience. They organise the viewer’s gaze, guiding it toward centres that feel less like compositional devices and more like points of awareness. The viewer becomes aware not only of the painting but of their own act of seeing.
In this way the paintings function as meditative spaces. They resist quick interpretation and instead reward sustained observation. Gupta’s practice suggests that painting can still operate as a contemplative medium within contemporary visual culture.