kativas (kativas) wrote,

Семейная кухня

В дополнение к собранным trs_trs_foto проектам "старая портретная фотография, гербарий и работа памяти"

Прийя Камбли (Priya Kambli) использовала цветы, рис и специи в двух проектах о семеной фотографии.

Kitchen Gods
[Spoiler (click to open)]
One of my most startling early childhood memories is of finding one of my father’s painstakingly composed family photographs pierced by my mother. She cut holes in them so as to completely obliterate her own face while not harming the image of my sister and myself beside her. Even as a child I was aware that this act was quite significant - but what it signified was beyond my ability to decipher. As an adult I continue to be disturbed by these artifacts, which not only encompass the photographer’s hand but also the subject’s fingerprints. Even though her incisions have a violent quality to them, as an image-maker I am aesthetically drawn by the physical mark, its presence and its careful placement.
These marred artifacts have formed a reference point and inspiration for my new body of work, Kitchen Gods, but they do not limit the form my own work takes. My need to decipher and address my family photographs is personal. My work is rooted in my fascination with my parents – both of whom died when I was young. Therefore for me these family photographs hold even more mythological weight. In my work I labor to maintain my parents the way Indian housewives do their kitchen deities. I also strive to connect the generations, my ancestors and my children, who have been separated by death and migration. Like my mother, I alter these photographs to modify the stories they tell.

Dada Aajooba and Mama, 2013

Dada Aajooba and Dadai Aaji, 2012

Baba, 2012

[Spoiler (click to open)]
At age 18, a couple of years after the death of my parents, I moved from India to the United States with all my belongings in one suitcase. My photographs, which are rooted in my fascination with my parents, visually express the notion of transience and split cultural identity caused by the act of migration. In Color Falls Down these issues are seen through the lens of my own personal history and cultural identity. I re-contextualize and alter my family snapshots and personal artifacts to reveal the correlations between generations, cultures and memory.
Color Falls Down is a conversation with my ancestors and also an effort to reconcile the cultural dualities that have helped form my hybrid identity. This conversation began with the domestic objects and family photographs that I carried with me in my suitcase and which have been my companions ever since. My self-portrait is the constant that links my past with my present. In this work I am neither Indian nor American, but the link that chains generations together.

Color Falls Down:
Baba (Muma's Bangles), 2012

Color Falls Down:
Aaji, 2012

Color Falls Down:
Me (Orange), 2008

Color Falls Down:
Dadi Aaji and Dada Aajooba (Yellow Petals), 2011

Tags: перекличка

Posts from This Journal “перекличка” Tag

  • Открытка — часть истории

    В экспозиции Учемского музея отельный уголок представлен кустарными открытками и фотографиями Своя лодка. Старухи о любви. Учма…

  • Три сорокалетних мальчика

    Фрагмент инсталляции Вадима Захарова «Старые рамы берегут покой глупых мальчиков» Вадим…

  • Теневой автопортрет в живописи

    Добавление к обширной подборке «теневых» автопортретов, их систематизации и книге Jean-Marie Donat "Хищник" акварель Марии Якунчиковой «За…

  • Post a new comment


    default userpic

    Your IP address will be recorded 

    When you submit the form an invisible reCAPTCHA check will be performed.
    You must follow the Privacy Policy and Google Terms of use.