Within, Beyond
Within, Beyond is an ongoing and evolving experimental photo series that delves into the intricate interplay between personal history, cultural identity, and the sense of alienation. This project draws upon photographic materials from my family's treasured archives, and elements such as old paints from my mother's collection and a distinctive blend of multani mitti—a traditional Indian mud mixture, infused with neem, lovingly crafted by my nani.
At its core, this series explores the concept of erasure and transformation by substituting skin with these materials. This exploration serves as a metaphor for the profound sense of detachment and otherness that often accompanies the diasporic experience. Moreover, it delves into the ways in which we, as individuals, consciously or unconsciously, efface our own identities in the pursuit of assimilation, even within our native communities. This is specific to my experience & others of my identity.
Consider, for instance, the erasure of a woman's identity upon marriage commonly seen in India—a radical shift into an unfamiliar space, despite remaining within the confines of her homeland. For me, specifically in a few photographs, Within, Beyond challenges these norms and raises questions about the cultural constructs that perpetuate them. It also contemplates the notion of leaving one's roots behind, where patriarchal conventions often overshadow a woman's sense of self, even as she embarks on a new journey.
To go beyond the self & specific scenarios, this project finds its origins in the exploration of the disconnection experienced in Western societies and the yearning for a sense of belonging rooted in one's cultural heritage. It seeks to illuminate how this estrangement can be traced back to historical colonization, which disrupted the natural order of comfort and belonging.
Notably, the act of obscuring faces within these archived images through the use of mud and old materials serves to challenge our perception of these photographs. Suddenly, everyone becomes an enigma, and when a subject remains unaltered, they seem to carry the weight of longing and alienation among those who have undergone transformation, or feel like an outcast within their own community, or, become the observer/perpetuator of alienation.
An illuminating conversation with a fellow South Asian friend has shed light on the resonance of this project. To her, these images feel almost like her own family's archival treasures, particularly when the faces are no longer discernible. The emotions of exploration, displacement, and estrangement that she perceives within these artworks mirror her own familial experiences. This revelation piques my curiosity about the potential impact of this project on a broader scale. Could it serve as a catalyst for similar explorations within other family archives, where unique materials are employed to distort one's visage, highlighting the universal themes of identity and alienation?
Within, Beyond will continue to evolve, pushing the boundaries of self-discovery and cultural introspection. It is my hope that this project will not only offer a glimpse into my own journey but also resonate with others who share in the complex tapestry of diasporic experiences and the profound quest for belonging and self-understanding.