It seems that his cultural identity is tenuous at best and Sunil decided recently to move back to India to explore his own cultural background. It is significant to mention that India does not accept homosexuality, does not offer treatment required for AIDS patients and doesn’t even officially acknowledge the existence of the disease. In addition India harbours a host of dangerous viruses that pose a constant threat to Sunil’s health. Even beyond that Sunil indicated that he lives in constant fear that his medical condition will be discovered and that he will be deported from India.

Both of Sunil Gupta’s series of photographs are highly personal, where he exposes himself (literally), his family members and the dynamics of an immigrant family in North America. His images use colour, atmospheric influences and juxtaposition to express symbolism and speak of an ongoing struggle to find his own personal, sexual and cultural identity at the confluence of Eastern and Western cultures.

For me personally, Sunil Gupta’s autobiographical photographs were almost shocking in their candor and openness. They talk about the cultural pressures and expectations that face second generation immigrants growing up in a liberal Western environment. Juxtaposed to this external environment is their traditional Eastern family milieu with its strict rules and role expectations, almost imposing a schizophrenic existence on their offspring.

It was rather surprising to me that Sunil Gupta decided recently to move back to a country where, as a gay HIV-positive individual, he is not accepted and it speaks to his overwhelming urge to reconnect with his roots.

The Canadian Museum of Photography is currently also hosting another installation: Imprints: Photographs by Michel Campeau, Marlene Creates, Lorraine Gilbert, Sarah Anne Johnson, and Sylvie Readmen features 19 recent acquisitions that explore nature and its forces as they intersect with the human world.