![]() ![]() Poses, where the subject looks intentionally at the audience, are what I was aiming for since I wanted it to borrow from the essence of Varma’s art. For this series, I consciously chose to play with the opposite i.e., staged static poses very intentionally choreographed compositions, and poses with static fabrics like we used to have in family photography studios when I was a child. Motion is also an emphatic method to express fabric as different fabrics have different flows, fall, and movement to them. The Phoblographer: What were some of the ideas and concepts you juggled with for this series? Was there significant planning involved?ĭaisy Naidu: I usually love motion and movement in my frames and like to see the still image as a frozen motion frame. These dramatic nuances, Depictions of Indian mythology, cultural elements, his use of light and shadow, and his color palette with rich Indian vibrant earthy colors, resonated with me and I found that the lockdown would give me some time and space to explore something artistic and experimental. His characters are often posing for the viewer, they are caught in the midst of an act that usually seems to be loaded with a mythological narrative or a climax and his female characters clearly suggest the presence of a voyeur. They also have an innate theatrical quality of being staged for an audience. ![]() Ravi Verma‘s works are steeped in cultural aesthetics and mythology. Tell us a bit about your Ravi Verma photography project.ĭaisy Naidu: I’ve always been strongly influenced by Indian culture and every art form that I took to, has been culturally rooted in Indian traditions and aesthetics like in theatre I focused on vernacular folk theatre, and in dance I specialized in Kathak (Lucknow Gharana) and so in art, I have been inspired by Rajasthani miniatures, Nathdwara paintings and works of artists like Ravi Verma. The Phoblographer: He’s considered one of the greatest Indian painters with absolute mastery of light and shadow. Then began my photographic explorations with portraits, color, fabrics, and light which led me directly to fashion and beauty-related work and that’s pretty much how my journey as a photographer began. During the process, I realized that photography as a medium can encompass and combine most mediums I had worked with earlier to arrive at my own visual language. Eventually, since I accompanied him on wildlife photography tours, I learned the technicalities of using a DSLR and became accustomed to it, just so I had something creative to do on the tours.Īlthough I knew the nuances of the camera, it was not until 2019, when I began preparing a body of work on “Gender and Sexuality in Contemporary Mumbai”, that I actually got to use the camera for a photojournalistic style of photography that was essential to treat this subject matter. I then happened to gift a Canon 60D to my husband who was developing a penchant for wildlife photography. Though I have always been explorative with my mediums, photography was never on my list. In my art, I have used mediums such as indigenous fabrics, organic materials like grass and vegetable fibers and bright color paint, and sometimes sculpture as my mediums of expression. Although I studied fine art, I have always been an artist in a broader all-inclusive sense and took to theatre and dance (performing arts) at a very young age. I’m fundamentally a fine art student from Bangalore. ![]() Tell us about yourself and how you got into photography.ĭaisy Naidu: I am a Mumbai-based artist and photographer. I pay great attention to Lights and modifiers and many a times prepare my own custom gobos, scrims, and diffusers, as controlling and shaping lights is very integral to my process, especially for studio set ups. I tend to focus more on the creatives and less on the gears and technology part of the process. ![]()
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