These images are a journey into the isolated alleyways that exist between the past and the present and articulate a dreary silence.
India is one of the largest exporters of leather worldwide. In Kanpur, the fifth-largest city of India, there are more than 350 tanneries which dispose of their poisonous sewage water directly into the Ganga River.
When I was seven, my uncle was in his late twenties. Today I am twenty and he in his late forties; it’s been a long journey of twenty years. This project, if at all I can call it a project is a tribute to my uncle. This is a very personal project.
The picture reflects the dialogue with my mother through my camera. Camera is a tool for me in opening up a dialogue with my mother. My mother and I used to belong at different poles. She was trafficked to Sethbagan from Malkangiri in the state of Orissa where I was born. She had to become a sex worker.
Ever since I was a child, I have heard that eskimos have dozens of different words to describe subtle nuances of white. When I arrived in Jharia, I couldn’t help wondering the same thing about the inhabitants of the largest mining area in India.
Singur and Nandigram are two villages situated in one of India’s most remarkable States. Totally dependent on agriculture, these two villages have recently fought against the Government, which threatens to snatch their only means of survival – fertile land.
Whenever people talk about ‘Indian photography’ it obviously leads to a debate and discussion about how appropriate it is to term it as ‘Indian photography’ rather than ‘photography in India’. The question is: to what extent has photography in India been Indianized?
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