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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Esmeralda Ruiz
Esmeralda Ruiz
Esmeralda Ruiz

Esmeralda Ruiz

Country: United States

Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today.

A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream.

Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day.

As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.

Source: Esmeralda Ruiz Website

 

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Ray K. Metzker
United States
1931 | † 2014
Ray K. Metzker (10 September 1931 – 9 October 2014) was an American photographer known chiefly for his bold, experimental B&W cityscapes and for his large "composites", assemblages of printed film strips and single frames. His work is held in various major public collections and is the subject of eight monographs. He received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts and Royal Photographic Society. Metzker was born in Milwaukee and lived in Philadelphia from the 1960s until his death. He was married to the photographer Ruth Thorne-Thomsen. He was a student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of New Mexico. After graduate studies at the Institute of Design in Chicago, Metzker travelled extensively throughout Europe in 1960-61, where he had two epiphanies: that "light" would be his primary subject, and that he would seek synthesis and complexity over simplicity. Metzker often said the artist begins his explorations by embracing what he doesn't know.Source: Wikipedia After a career that spanned five decades and saw him pioneer a new and singular visual idiom, Ray K. Metzker has been recognized as one of the great masters of American photography. Characterized by composites, multiple-exposures, solarization, the superimposition of negatives, and the juxtaposition of images, Metzker’s work pushed the boundaries of what seemed formally possible in black and white photography. Metzker enrolled at the Institute of Design, Chicago in 1956, a school which at that time was being referred to as the New Bauhaus, where he studied with fellow modernist photographers Harry Callahan and Aaron Siskind. After obtaining a master’s degree from the Institute in 1959, Metzker’s work began to garner increasing attention and critical regard, first and foremost from Edward Steichen, who, at that time, was the curator of photography at the Museum of Modern Art, New York. Metzker’s first solo show would happen at the Museum of Modern Art in 1967. Retrospectives of his work were organized in 1978 by the International Center of Photography in New York and in 1984 by the Museum of Fine Arts in Houston, a show which then traveled to the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, Atlanta, the International Museum of Photography, Rochester, and the National Museum of American Art, Washington, DC. In 2011 a major career retrospective of Metzker’s work was organized by the Nelson-Atkins Museum of Art in Kansas City, which traveled to the The J. Paul Getty Museum in Los Angeles and the Henry Art Museum in Seattle. Ray K. Metzker died in October of 2014, at 83 years of age, in the city of Philadelphia.Source: Howard Greenberg Gallery Metzker has dedicated his career to exploring the formal potentials of black-and-white photography, but they are not his exclusive concern. "When you look at the multiples, you are aware of patterning and so forth," he says, "but there is still identifiable subject matter; frequently there are people there; there is a rhythm to those people." Metzker's 1959 thesis project, My Camera and I in the Loop, takes downtown Chicago as its subject, but renders it in experiments that tell more about photography than they do about the city. The pictures from this project were exhibited at the Art Institute of Chicago (1959-1960), and included in the issue of Aperture devoted to the students and professors of the Institute of Design at the Illinois Institute of Technology in Chicago (1961). Ray Metzker's images question the nature of the photograph and photographic "reality." Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. Untitled from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture. The photograph is part of a series of pictures made from 1968 to 1975 of beach-goers in New Jersey. "The more fashion conscious probably go to other beaches, but what Atlantic City has – and what attracted me to it – is diversity," Metzker said. Of the content of the pictures and his working method, Metzker added, "What appears in the pictures was the subject's decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite." Metzker used a 1975 National Endowment for the Arts fellowship to pull the series together as Sand Creatures, later published as a book in 1979. There are no diptychs in the book, though the woman in sunglasses at the bottom of Untitled (1969) is included as a solo picture. In a July 1992 letter, Metzker wrote the following about two untitled Sand Creatures pictures from 1969: "The photograph of the double image is from the series entitled Couplets and predates the single image by a number of years. Both pictures were made at beaches along the New Jersey coast: the couplet at Atlantic City, the single frame at Cape May. With both, my camera was an Olympus half-frame, a small amateurish piece of equipment that let me move about freely. The choice of the camera was essential to the development of the series."Source: Museum of Contemporary Photography
Ernest Cole
South Africa
1940 | † 1990
Ernest Cole was born in South Africa’s Transvaal in 1940 and died in New York City in 1990. During his life he was known for only one book: House of Bondage – published in 1967. In 2011, the Hasselblad Foundation produced a follow-up: Ernest Cole: Photographer. Cole’s early work chronicled the horrors of apartheid and in 1966 he fled the Republic of South Africa becoming a ‘banned person’. He was briefly associated with Magnum Photographers and received funding from the Ford Foundation and Time-Life. In North America, he concentrated on street photography in primarily urban settings. Between 1969 and 1971, Cole spent an extensive amount of time on regular visits to Sweden where he became involved with the Tiofoto collective and exhibited his work. From 1972, Cole’s life fell into disarray and he ceased to work as a photographer, losing control of his archive and negatives in the process. Having experienced periods of homelessness, Cole died aged forty-nine of pancreatic cancer in 1990. In 2017, more than 60,000 of Cole’s negatives missing for more than forty years were discovered in a Stockholm bank vault. This work is now being examined and catalogued.Source: Magnum Photos Ernest Cole (1940–1990)—one of South Africa’s first black photo-journalists—created powerful photographs that revealed to the world what it meant to be black under apartheid. With imaginative daring, courage, and compassion, Cole portrayed the everyday lives of blacks as they negotiated apartheid’s racist laws and oppression. Apartheid, which means “apartness” in Afrikaans (the language of South Africa’s white minority of Dutch descent), was an often brutally enforced legal policy that separated people by race in all aspects of life, within a white supremacist hierarchy of power. Born in Eersterust, a black freehold township in Pretoria, Cole was forcibly relocated with his family to nearby Mamelodi in the late 1950s. While still a teenager, he began working as a darkroom assistant at Drum, a black lifestyle magazine in Johannesburg. There he mingled with young black South African photographers, journalists, jazz musicians, and leaders of the burgeoning anti-apartheid movement. Inspired by Henri Cartier-Bresson’s photo-essays, Cole embarked on a life mission to produce a book that would awaken the rest of the world to apartheid’s corrosive effects. House of Bondage was published in New York in 1967. Although it was immediately banned in South Africa, contraband copies spurred on the country’s emerging activist photographers. Cole’s images are hard-hitting and incendiary, yet often subtle and even elegant. He frequently worked clandestinely with a hidden camera to capture scenes he was forbidden to photograph, employing striking perspectives and framing. Many of the prints on view here are displayed for the first time uncropped, as he originally intended, and often accompanied by House of Bondage’s incisive captions. In 1966 Cole was arrested by the South African police. Fleeing to Europe, he took with him little more than the layouts for his book. He spent the remaining 23 years of his life in painful exile between Sweden and the United States; after 1975 he was often destitute, living on New York City streets and in the subway. In 1990 he died of cancer at the age of 49—one week after Nelson Mandela’s release from prison. Nearly all his possessions were lost; fortunately, he had given some prints to Tio Fotografer, a Swedish photographers’ association, which later donated them to the Hasselblad Foundation. Bringing this remarkable artist’s works to the international stage, Ernest Cole Photographer commemorates his pioneering efforts to capture the complex truths of day-to-day, lived experiences during harrowing times. Critiquing institutionalized segregation and celebrating human resilience, Cole challenged the status quo, and his work continues to speak eloquently and forcefully to contemporary issues of poverty and racial inequality in the United States and worldwide.Source: Grey Art Gallery, NYU
Kathryn Nee
United States
Kathryn is an Fine Art/Freelance Photographer/Food Photog/Urban Explorer living in Atlanta. A Georgia native, she has been photographing life as art for over 15 years. Kathryn finds incredible beauty in old, decaying, and forgotten places and objects and loves all things vintage, weird, macabre, dark, whimsical, unusual, and strange. When she's not photographing abandoned and vacant structures, Kathryn steps into the land of the living and captures the beauty of people. Kathryn works as a freelance photographer for Sports Gwinnett Magazine and is the director of photography for the Urban Mediamakers Film Festival. All about Kathryn Nee: AAP: When did you realize you wanted to be a photographer? I knew I wanted to be a photographer when I was in elementary school. I'd rummage through National Geographic magazines in the library, mesmerized by the images. I knew that one day, after working several lousy jobs that I hated, I'd become a photographer. Where did you study photography? I am self taught. I learned through trial and error, years of studying, and practice. Do you remember your first shot? What was it? I remember my first roll of film with my first 'real' camera, a Nikon N60. I was a teenager who would sneak into Atlanta clubs and bars on weekends. I'd roam around photographing graffiti. I found the mess to be beautiful. What or who inspires you? Decaying, forgotten, and unloved places. I have a vivid imagination that runs wild all day, every day. I can call a friend and say, "I need you to suffer through a long, strenuous shoot in an abandoned building. It will be weird, but I have a vision" and they trust me enough to go through with it. It works out well. What kind of gear do you use? Camera, lens, digital, film? I use all Canon equipment. Do you spend a lot of time editing your images? I actually don't. I like my photos the way I like my food: organic. I try not to over do it with editing or manipulation. What advice would you give a young photographer? Break rules to get the shot you want. Don't waste money on art school. What mistake should a young photographer avoid? Please don't HDR all of your work. An idea, a sentence, a project you would like to share? I'm currently working on a new series that will be a visual expression of how work, domestic home life, parenting, and society can beat us down physically and mentally. It sounds depressing but it's actually the most fun I've ever had shooting. Your best memory as a photographer? Being published by National Geographic twice in one month. I couldn't believe it. If you could have taken the photographs of someone else who would it be? I'd give just about anything to photograph Régine Chassagne of Arcade Fire.
Rip Hopkins
United Kingdom
1972
Born in England in 1972, Rip Hopkins studied industrial design at ENSCI (Ecole Nationale Supérieure de Création Industrielle) in Paris. Working with Médecins Sans Frontières (Doctors Without Borders) he has made photoreportages and documentaries in numerous countries including South Sudan, Bosnia, Liberia, Uganda, Ingushetia, and East Timor. He joined Agence VU in 1996 and the following year received the Mosaïque Scholarship, the Kodak Young Photo-Reporter Award, the Observer Hodge Award and the Monographies Prize. In 2000, he was awarded the Fondation Hachette Scholarship to pursue his photographic work in Tajikistan. This led to his receiving the 2002 Fondation HSBC Award and the publication of Tajikistan Weaving (Actes Sud Editions). His book Displaced (Textuel Editions 2004) was produced with the support of the FIACRE Scholarship. Hopkins started photography when he was ten years old. It is his way of recording and documenting moments of his life and those of others. He sees photography as a tool presenting vast possibilities for intellectual and aesthetic expression. He combines his personal art work with the necessity of making a living, thus drawing on various means of support such as exhibitions, books, press work and films. This produces an on-going cycle: if a person sees a photograph then they know that it exists, so they can buy it, so the photographer can produce work and survive. So what is a photographer exactly? Ethnographer, artist, advertiser, teacher, crook, journalist, artistic director? Few professions are so diverse and so vague. A photographer is constantly confronted with questions such as: what is an image today? How long will it survive? How should it be made? Who wants it? What technique should be used? Should there be a point of view or a stand point? With each new project Rip asks himself these questions again and re-evaluates his role in today’s world. Rip Hopkins is a member of Agence Vu and is represented by Galerie Le Réverbère and by LT2. Source: www.riphopkins.com
Andre Cypriano
Brazil
1964
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Philip Jones Griffiths
Wales
1936 | † 2008
Born in Rhuddlan, Wales, Philip Jones Griffiths studied pharmacy in Liverpool and worked in London while photographing part-time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London-based Observer. He covered the Algerian War in 1962, then moved to Central Africa. From there he moved to Asia, photographing in Vietnam from 1966 to 1971. His book on the war, Vietnam Inc., crystallized public opinion and gave form to Western misgivings about American involvement in Vietnam. One of the most detailed surveys of any conflict, Vietnam Inc. is also an in-depth document of Vietnamese culture under attack. An associate member of Magnum since 1966, Griffiths became a member in 1971. In 1973 he covered the Yom Kippur War and then worked in Cambodia between 1973 and 1975. In 1977 he covered Asia from his base in Thailand. In 1980 Griffiths moved to New York to assume the presidency of Magnum, a post he held for a record five years. Griffiths' assignments, often self-engineered, took him to more than 120 countries. He continued to work for major publications such as Life and Geo on stories such as Buddhism in Cambodia, droughts in India, poverty in Texas, the re-greening of Vietnam, and the legacy of the Gulf War in Kuwait. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books ‘Agent Orange’ and ‘Vietnam at Peace’. Griffiths' work reflects on the unequal relationship between technology and humanity, summed up in his book Dark Odyssey. Human foolishness always attracted Griffiths' eye, but, faithful to the ethics of the Magnum founders, he believed in human dignity and in the capacity for improvement. Philip Jones Griffiths died at home in West London on 19th March 2008From en.wikipedia.orgJones Griffiths was born in Rhuddlan, to Joseph Griffiths, who supervised the local trucking service of the London, Midland and Scottish Railway, and Catherine Jones, Rhuddlan's district nurse, who ran a small maternity clinic at home. He studied pharmacy in Liverpool and worked in London as the night manager at the Piccadilly branch of Boots, while also working as a part-time photographer for the Manchester Guardian. His first photograph was of a friend, taken with the family Brownie in a rowboat off Holyhead. Jones Griffiths never married, saying it was a "bourgeois" notion, but that he had had "significant" relationships. Survived by Fanella Ferrato and Katherine Holden, his daughters from long-term relationships with Donna Ferrato and Heather Holden. He died from cancer on March 19, 2008. Journalist John Pilger wrote in tribute to Griffiths soon after his death: "I never met a foreigner who cared as wisely for the Vietnamese, or about ordinary people everywhere under the heel of great power, as Philip Jones Griffiths. He was the greatest photographer and one of the finest journalists of my lifetime, and a humanitarian to match…. His photographs of ordinary people, from his beloved Wales to Vietnam and the shadows of Cambodia, make you realise who the true heroes are. He was one of them." Griffiths started work as a full-time freelance photographer in 1961 for the Observer, travelling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected his view of the war as an episode in the continuing decolonisation of former European possessions. However, he was eventually able to get a scoop that the American outlets liked: photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds from these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. Vietnam Inc. had a major influence on American perceptions of the war, and became a classic of photojournalism. The book was the result of Griffiths' three years work in the country and it stands as one of the most detailed surveys of any conflict, including descriptions of the horrors of the war as well as a study of Vietnamese rural life and views from serving American soldiers. Probably one of its most quoted passages is of a US army source discussing napalm: ‘We sure are pleased with those backroom boys at Dow. The original product wasn’t so hot - if the gooks were quick they could scrape it off. So the boys started adding polystyrene - now it sticks like shit to a blanket. But if the gooks jumped under water it stopped burning, so they started adding Willie Peter (white phosphorus) so’s to make it burn better. And just one drop is enough, it’ll keep on burning right down to the bone so they die anyway from phosphorus poisoning.’ The South Vietnamese president, Nguyen Van Thieu, criticized Griffiths' work, remarking "Let me tell you there are many people I don't want back in my country, but I can assure you Mr. Griffiths name is at the top of the list." In 1973, Griffiths covered the Yom Kippur War. He then worked in Cambodia from 1973 to 1975. In 1980, he became the president of Magnum, a position he then held for five years. In 2001 Vietnam Inc. was reprinted with a foreword by Noam Chomsky. Subsequent books have included Dark Odyssey, a collection of his best pictures, and Agent Orange, dealing with the impact of the US defoliant Agent Orange on postwar generations in Vietnam. After becoming aware of his terminal condition, Jones Griffiths launched a foundation to preserve his archives. His daughters helm the foundation, which as of July 2008 lacked a permanent home. Source: www.magnumphotos.com
Madhur Dhingra
I was born an only child to my parents, in Delhi, into a family torn apart by the aftermath of the India-Pakistan partition. Hailing from a affluent background in Pakistan my family was now struggling for survival in the walled city of Delhi totally penniless. Imbedded with deep insecurities and freshly bearing the scars of partition my family was now setting up trade in the walled city dealing in fabric. It is relevant for me to mention this background for these very insecurities I too inherited from my family and they remain with me till date even with the changed times and lifestyle. Things improved gradually financially, with the trade flourishing and much because of the sheer hard work of my grandfather, father& chachas(father's brothers).We settled in Delhi at the start as big joint family. I have grown up hearing tales of how we had started life selling fabric on the pavements of the walled city where we now own several properties. My father could never get over those scars of partition. I too was repeatedly made to realize that ( for better or for worse) even though I was born much later in Delhi. At the age of five I was put to school at St.Xavier's High School, Raj Niwas Marg, Delhi. That period was to become the most memorable part of my life. I remember enjoying that period thoroughly. I was always an above average student with a lot of love for extracurricular activities. In school I would love going hiking, camping, swimming & cycling with the boy scouts. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble. After school I went to the Delhi University and took up English Hons as my subject. But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer. For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures . Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city. On the loudspeaker I then heard the azaan (prayer call) and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off. Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship. Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain. This was the way of life for most sailors . One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten. My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way .I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood. I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days. But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness . I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh 500 as I now try to remember. The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing. It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. The Basic course was about learning the techniques of Black & White photography. Satyasri was a dedicated, honest & straightforward teacher. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image. I was learning fast with my association with Satyasri at Triveni where he was teaching then . A few of us guys(now renowned photographers), formed a sort of a team under the guidance of Ukil (as we address Satyasri,till date).We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long. I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies. My first breakthrough as I clearly remember had come from the agency 0& M whose creative head then was Benoy Mitra, who was one day present at the colour lab called "MultiColour in Jhandewalan, when my portfolio prints were coming out of the lab. He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. I soon started getting assignments from most major agencies. But now I started getting bored again shooting mountains product and off and on some fashion. I still needed to express myself in a different way. I decide to work towards my first solo exhibition and I show my landscapes and mountain work to the management of INDIA INTERNATIONAL CENTRE. After seeing my work they agree to sponsor my show fixing the date to 28th November 1998.It is pertinent to mention here that I had then "only" shown them my beautiful landscapes and mountain TP's as I had nothing more at that time in my kitty. I started a new journey, first shooting Ladakh. I found immense peace and tranquility (acting as a balm for my troubled mind )in the monasteries I visited. The filtrations of light from the windows and doors into the dark interiors of the monasteries were indeed very beautiful, tranquil and peaceful. I would sit inside these monasteries for hours at a stretch calming my taut nerves. The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light (God) on it. My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death. The quality of light that I found in Banaras was very warm & golden and I wouldn't hesitate a moment to call it heavenly. Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. People from all over India come to Kashi (ancient name of Banaras)to cremate their dead at Manikarnika.It is believed by Hindus that a cremation at Manikarnika Ghat gives the human soul an unhindered passage to heaven. Pyres are being lit here continuously without getting extinguished for the last 3000 years. But it was on this BURNING GHAT that my worst nightmare was to begin. I would visit this ghat daily looking at the activities. It was not very long before I realised that whenever a body of a poor person would come in, it would be cremated in a bizarre manner. It required two mun wood at the least (mun is an Indian measure of weight equivalent to 20 kgs) to cover a human body completely for cremation. But the person accompanying the dead body did not have that much money in his pocket. So only that much wood was purchased in which only the torso could be covered by wood. The legs and head were left hanging out and the pyre lit. The head would get burnt in a horrific manner with the head and feet falling away from the torso partially burnt. Then these torn away parts were picked up and put into the pyre or thrown into the Ganges. This whole sequence was so bizarre that I decided to get it on film and show it to the world. This I did manage to photograph secretly even after a lot of objections and hindrances from the people in charge at Manikarnika. Man really "was" meeting his God in Kashi, though in a very bizarre manner. So much for Kashi, our GATEWAY TO HEAVEN.I have posted only a few of those pictures on this website just to avoid unnecessary disturbance to people's minds. In the meantime the Purn Kumbh was being held at Hardwar. This again has become a very interesting event to relate. I was aghast to see completely naked so called Naga "sadhus" storming the streets of Hardwar. It was here I came to understand from the local inhabitants of Hardwar that this whole show was a complete farce. These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. ( I have shown some photographs of them in my Black & White section). Here I saw them fight pitched battles with the police before the procession. DOWNRIGHT CRIMINALS TO THE VERY CORE, MOST OF THEM. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.This was very early in the morning and I was testing the auto focusing of my telephoto 300mm Canon lens when I saw a group of nagas in the akhara compound. I was taken aback when I saw one Naga fiddling with the genitals of the other Naga, "AND I TOOK THE SHOT".(later to appear on the first page of THE INDIAN EXPRESS). There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans. This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. The IIC Gallery wanted to see the final prints that I had decided to display. Nowhere in my final selection were those beautiful landscapes to be seen. Their place had been taken by naked sadhus with Trishuls and burning ghats & corpses. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn. My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list. Much courage to take this right stand was coming from Satyasri Ukil who stood by me all this while withstanding this massive ONSLOUGHT . IIC Management banned my exhibition. It was during this period that me and Satyasri Ukil were introduced to Suneet Chopra a reputed Art Critic. He later introduced us to Siddharth Tagore, a gallery owner at Art Consult Hauz Khas Village. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B.C.Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition. Mr.Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All .Now IIC started shifting its stance and a compromise was reached. "That the images will be allowed to display but only facing towards the Gallery wall, whoever who wanted to see them could do so at his own discretion". Almost everybody saw those images.. Many reputed people visited the exhibition, some of them I mention in my TESTIMONIAL column. Eight major newspapers wrote elaborately on this exhibition. There was a TV interview also held by a channel also. The exhibition was a huge success on the whole. I am now planning another exhibition with a different theme and gearing up to hold another show in Milan. Life for me as a photographer continues...
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