This is NOT the photo. I swear.
I haven’t touched my camera since my return to Canada last April. It’s lying disused, sad, lonely. I have thought about it on several occasions. Recently, when the lake froze over in Kingston, I contemplated running out in my winter gear for some fascinating photographs. But the minus temperature outside, along with my toasty blanket, a line up of Criminal Minds on my laptop and the steaming chicken corn soup I had just made… well, they kept me at bay.
These days, when it comes to photography, I amuse myself with the photographs from my big, fat Indian holiday. They keep me warm.
I have a photograph, “Fishbowl,” in CURA. It was taken in Calcutta, India, last March. You can see it here.
It’s featured in the same issue as poet Oliver de la Paz (!)
“Synastry” from my “Afternoons in Varanasi: A Series”. Taken in March 2012, it’s on the cover of Barely South Review (September 2012 issue).
My official artist’s statement:
Photography is not my main medium of expression. Writing is. Yet, I have found that it is photographs that express what I am unable to find words for. In photography, I try to capture the randomness in the mundane, the unexpected in the predictable, the carpe vitam in the commonplace. Some of my clicks have a voyeuristic quality, since I have found that being a single brown woman, there are certain lines one cannot cross. I trespass those lines anyway, but from a distance.
These photographs are from a series set in Varanasi, India, and were taken on the ghats (or, the riverbanks) earlier this year. They were taken in the afternoon, a time most popular for siestas in India. I have tried to capture a side of the city that is not immediately visible to touristy eyes.
I have four photographs from “Afternoons in Varanasi: A Series” in Barely South Review. Check out “Synastry” (cover), “Communion,” “Affinity” and “Rainbow” here (see pages 93, 94 and 95).