more in thought than in things

"more in thought than in things..." is a series of assorted images captured over the span of 8 years (1999-2007) in India, Italy, France, Germany, Netherlands, United Kingdom and Switzerland. The series revolve around the instinct of assumptions. Ideas we see, seek and construct in images. We interpret light, shadow, texture, shape, lines & subject within the obvious and beyond. All the titles in the series are sub-grouped to indicate a narrative based on multiplicity of conception, syntactic nomenclature and ways of seeing. Assumptions range from meloncholy to humor & literality to irony; as understood individually in shades lying between black and white. Subjects vary from people, urban & rural landscape, nature, objects, portraits & abstracts. The emphasis is on the semiotic translation of imagery, graphic quality and old school emotional appeal. Extempore equipment including point-and-shoot, mobile phone, 35mm film and digital single lens reflex cameras have been used for the images which highlights content & questions dependence of present day photography on pro-gadgetry.

1

The first group speaks the language of verbs and punctuation marks. It is a loop of possible emotions evoked by the imagery, as rendered by the presence of anonymity, absence of detail, sense of void and poetic solitude. There are intercepts to the flow of narrative with breathing space and exploration of common and not so common punctuation marks. These intercepts are combination of two images suggesting dual meaning ranslation; like an exclamation mark which suggests the idea of exclamation!

2

Group two is seriously non satirical. Images explore subjects with a visual predicate and vice versa, as a mean to comment on social concepts. Religion suggests association with or without the consent of subject. Profession tries to define the character of subject in diverse predicate and work climate. Progression underlines the relevance of diminution vis a vis magnitude and subsequent change in perception for living and non living. Discretion acknowledges and respects the preference for tea or coffee.

3

Group three explores synonyms and antonyms with hints of homonyms. Visual story with literal meaning and metaphors comment on ambiguity of language and personal understanding of in your face facts. Meaning stands independent, from each one of us, irrespective of what we see, read and feel. An attempt to push limitations of optical syntax and understand objectivity of communication.

4

Group four says what I think. It will say to you, what you think. The images, without our thoughts, are meaningless. They are not even decorative.