Siddhartha TAWADEY this "ephemeral – A hello to photographic impermanence

New Delhi: At a time where art photography has become synonymous with digital prints and function of handling Photoshop, here is a photographer who made the fast disappearing Darkroom his studio and a Buddhist concept his muse! Investment Banker turned photographer exhibits Siddhartha Tawadey yet another outstanding collection of more than twenty photographs his upcoming solo exhibition entitled "fleeting - hello A photographic impermanence "At Travancore Art Gallery, Travancore Palace, Kasturba Gandhi Marg, New Delhi from November 12 November 2009 May 22, 2009.

Born in Calcutta, Siddhartha Tawadey first creative influences comes from his mother taught him "to watch and wonder about the natural world around him, inherited his love of collecting and finding beauty the smallest pebble or leaf. Although his ambition has always been to be an art photographer, family pressures led him to pursue an MBA from Middlesex School of Business (London) and enter the corporate sector as a banker with the Global Fund Solutions, London. Providence has willed that a company has not persuaded him to pursue photography with renewed vigor. He studied art and architectural photography of St Martin's School of Design (London), painting and photography of the City University (London) and Photo Fusion – Advanced printing and other darkroom (London) and returned to art photography to express ideas and concerns of the individual point of view with a particular theme.

Siddhartha Tawadey said: "I created from various references that I find in art, whether the qualities of surrealist paintings of Rene Magritte and Salvador Dali, abstract expressionism of Rothko and Mondrian in the beauty of a Monet and Seurat or involved striking artwork of Van Gogh. "

"My ideas, references and inspiration were largely influenced by my education and work, covering the continents and cities. Thus my photographs reflect a more prosaic view photographs – a fascination with everyday things, landscapes, both natural and urban repetition, the shadows of memory, the stratification of history, order and chaos is all in my work. "

"There may be other, more descriptive or poetic words that may be used to define the" pattern "that connects the images, but most simple meta-model is as follows: I take photos of moments in time and space in which a peace washes over me, and while I feel a deep interdependence between my soul, time and the world around me every day. "

"I work abstractly and non-linear – but my drawings are trends over time, usually in order to delay recognition if a photo can have a better dialogue with his audience, free of labels. Recent techniques have see without gravity included, the design in the dark, and using forms of photography continue beyond the physical. "

Theme his current show is based on Mujo, a medieval concept of Buddhism, which literally means "no" (MU) "permanently" (Jo) and also known as Anittya Sanskrit, Transience encompasses ephemeral and fleeting our lives and those things around us, including the birth, growth, change, decay, death, organic forms, structures of society and time. Transience exists in organic forms, structures of society and time itself. Latest consumes the present while we move constantly the uncertainty of the future.

As a photographer, Tawadey, however, has been transferred from the figurative style he has shown its debut show titled "silent voices of India invisible" in September 2008, where he demonstrated philosophy intimate exploration of time, memory and history. His second show entitled "A Wave of Dreams in March 2009 created movement of all kinds with Triptychs in photography when he juxtaposes three images into one image to portray the inner realities of the unconscious.

In the current issue, the universal language of abstraction and the use of metaphor, he reflects on his staff and universal concerns about the transience of life and nature. By creating work without the constraints of performance, the work can not exist own right, as an object if you want, which may draw from the viewer a feeling, a memory, a collective recognition of the beauty of form, perception space or the purity of line.

He said: "Photography can be described not as capturing reality, but rather as an abstraction of time and place. What may have been real exists only on paper in the whirlwind of chemicals and fixatives that takes into place. "

He continued: "So what about the photographic image that is in itself abstract? Our focus shifts from recognizable index form, composition, tone, and intent? But if the image gives us both? What if the image has a genuine recognizable form in an abstract presentation? The results are much more complex than in abstract painting, because the eye is conditioned to read photographs of the surface, take it for what it is, and is therefore no question more than the eye can see. The images challenge the viewer these specific hypotheses that we draw from the media reality photography itself. "

For example, in one of his works, photography The first glance shows a lid, but on closer you can see a fetus caught in the eyeballs. In another photo, it really to look deep and long term to determine whether the eyes of a child or a woman's face is distorted so as to make the features unrecognizable. In yet another image, one can see two trees and a glimpse of a cabin still intact while a strong wind is swirling pass by. The photographer tries to capture stability is absolutely essential in relationships. For one of his photographs, the photographer had been specifically Dindigul, Chennai "just capture the movement of the windmills. Other works include Elephant Boy, Mystic, soul and Monet.

However, what remains his signature style is desolation in every of his photographs. The sense of solitude in the vast spaces and the paradox referred to in this exhibition is that to be, we must change when we keep changing we cease to exist. Everything is in motion. It is this movement that the photographer has attempted to capture through his pictures.

In an era dominated by digital prints, Siddhartha Tawadey still favors the traditional concept of the darkroom and also includes frames, which were made before the advent of photography. For him, the darkroom is where he is the happiest, as he is in control of everything – from images taken from its 5 D Mark 2 Cannon or Nikon F 90, which are processed by hand and then contact printed images that are extended using a magnifier old Fuji and rendered on Hahnemuhle archival resin coated paper. From their analysis on the latest technologies and scanners print from Epson Stylus 9880 wide format printer on professional archival paper using Epson Ultra Chrome K3 recent archival pigment inks how he wants to play with the lights of the lens, for washing prints – everything that gives it an immense pleasure just to see how it can transform photos print.

Quiz him that we can do the same thing in Photoshop, Pat comes the reply that "it is the restriction in the use the mouse on the computer. "Asked about the difficulties he faces in his photographic journey, he scoffs," This was a task Herculean find a darkroom or paper of good quality printing in India. As each fine art print is done manually with a degree of evasion and burning, no two photographs never released the exact same thing. I want to print on fiber paper, which are the traditional paper, but handling, washing and processing takes a long time. Also, apart from expensive fees for studying photography, there is no short-term courses available here. "

Tawadey big break came with the photo – try to Tate Modern (United Kingdom), but the latest achievement that has excited is one-to-be-launched soon the book on the lateral relations between India and Colombia, entitled "Una familia humana Apasionada" for which he provided images. What also inspires him to work with famed photographer Diego Ferago with whom he "will establish a facility video at the airport of Barcelona (Spain) next year, "he adds.

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