Earth is Benevolent.

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She cradles

our sentient experience

through memory of senses and mass,

material and mutation.

Vibrating at the frequency of 7.83 Hz

with Love and Innovation,

a giga-grand mother.

Daugther of Ravi. (Sun-Male)

Once, a ball of fire,

setting on a journey

born out of a blazing womb

transforming through the Five Elements

like a Kavi. (Poet – Gender Neutral)


Sister of many moons

she locked onto the orbit of eclipse.

As winds of time cooled her skin

the Earth sprouted life within.

And secreted sustenance


Her acquiescence.


Encased within the sky,

Akash, heaven the Fifth dimension.


she holds everything down to hearth

molten Gravity—-Magnitude—–Latitude—–Longitude and Servitude.


Transcending processes over and over and over again through migrations

humanity———————————————————She Bleeds

Fire as resurrection

Winds in the fabric of Time

Earth as The Mother

Water, a life force that resonates

and Ether as technological creativity.

Beginning and ending with the Five elements

a micro and macro-symbolic textural exploration of all the particles at play

grounded on

and through a delicate string that is;

Benevolent Mother Earth.

7.83 Hz Bound addresses the ongoing flux of the Anthropocene through vernacular narrative.

That being Man vs. Nature, Natural vs. Artifact and Nature of the Artifact; as well as, the nature of humankind’s actions in the urban landscape.

This conceptual artwork is an entwined trilogy of the constructed abstract, the naturally occurring and the discarded.

A mythical symbolic journey, which weaves together the appearances of the dynamic five elements, manifesting in, on and within the planet; as well as throughout our social fabric.

Created for the public sphere, the representation of utilitarian tropes referencing the iconic Indian phrase – Roti, Kapada, aur Makaan (Food, Clothing, and Shelter) – served as a commonality found in the survival of the human race across the socio-economic divide.

The main story highlights the flux between thoughtful, symbiotic and down-to-earth rural knowledge systems. Fading in the evident decay of the contemporary post-colonial and post global market economy driven processes, the consumer landscape of urbanity, as grounds for a comparative study within the range of Indian cities and its outskirts.

March – May 2016 Photography

India is a country that lives in many ages simultaneously. Within the urban landscape, the contradictions found between rural and urban presented a flux; between ‘natural’ and ‘artificial’

Tapping into the knowledge bank of the Panchatattva (The Five Elements) through intuitive observation of the traces found in distinct textures. I looked to the forces of nature that peaked through the city of Pune,

in Maharashtra.


Every façade shadowed the resonance of Earth’s forces, weathered over time, the ancient and the modern both tolerated each other.

The city presented itself as a dream, a mode of survival in its transparent textured facades.


According to ancient Indian Philosopy, the Panchatattvas work in relation to one another; constantly transforming their states as matter takes a journey through time.

When water boils, it becomes vapor, gaseous states condense into liquid upon cooled, solids can be vaporized by heat, and so on

Thus, the entire cosmos has built a world by playing with these elements. We call this matter – reality, and see it as the objective truth.

Seeking its representation in artistic form, I turned my awareness towards each plane and surface of the cities – natural or unnatural with a keen eye, to discover the Panchatattvas in….poetic abstractions.

Such as..

The natural textures of time,

the hidden process of wind,

the invisible stories of water,

the traces of human hands,

the intervention of the imagination,

the chronicles of dreams,

the decay of the past,

the fluxus of migration,

the archive of moments,

the anomalies of the present,

traces of ghosts and spirits,

wounds of history

and tropes of victory.


By Shraddha Borawake

Habitat Photosphere 2016 Awardee

Roosting with the Gladiators

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All four Photosphere awardees are hard at work developing their projects. Read on to find out more about how the Photosphere fellowship and Prabir Purakayastha’s guidance is helping Adnan through his process.

As the Gladiators used to fight showing their loyalty towards their masters, one can see the same spirit echoed in the ears of the roosters, fighting for their masters.

The project which started as a mere coincidence, in Delhi has been supported by The Photosphere Fellowship 2018 which gave it new heights. I was roaming around the streets of Delhi when I met two old men who had two roosters. Upon seeing me shooting the animals, one of the old man offered me a chance to shoot them fighting. He made both the roosters fight a small round and photographing it gave me a thought to convert my photos into a project.

As soon as I started working upon my project, I went to a lot of places to shoot Rooster fights, all with different people and experiences. Upon asking the people to take me along for the fight, I was always told that the name of the place would not be disclosed and will be only be able to see the place once we have reached. Though, never again the fight happens at the same location.

Receiving the Photosphere Fellowship over this project was a boon to me and artistic practice. With the availability of Prabir as my mentor, I was able to develop the project successfully as it removed the obstacles that used to come in my way. The mentorship helped me to diverse my thinking, adapt various angles to my story, clarify doubts and the places where my mind used to stick, perform efficient editing and produce a coherent body of work. I am thankful to Photosphere and Prabir sir for having faith in my project and for supporting this project endlessly.

Memories of a Photograph

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Sustainabilty is one side of the Photosphere coin and photography is the other. Today, almost anyone can become a photographer, thanks to the availability of better and better cameras in our ubiquitous phones. And once we capture these images, we can’t wait to share them. How are our pictures on Facebook and Instagram different from those we look at in physical albums? Does it make a difference on how we remember certain things and memories?

The last two decades have seen a humongous growth in technology. The novelty of phones, computers and tablets has worn off, and left in its wake a rising pile of electronic waste from gadgets that become obsolete almost as soon as they are bought. Many of these gadgets contain within them what was once a separate entity: the camera. With the camera being able to fit in our pockets, available to anyone with a phone, the number of photographs that are being clicked today has increased many folds.

A photograph captures a moment in time. Clicking photographs was not as common once as it is today, and only a moment deemed worthy and important was captured. It created a memory, which not only included what was in the picture, but also what happened before or after it was clicked. Each one came with a story.

Today however, there are tens of pictures in every Instagram story, and our memories around pictures are the reminders that Facebook gives. As the number of photographs we click increase, the value each one holds for us decreases. It is often said, ‘excess of everything is bad’. Does today’s excess of photography then, make it less worthwhile than it was some years ago? There was a time when taking a photo was a conscious decision, and not an instinctive response. Every photo – whether it was focused or not – was carefully placed in albums, to be looked at later; and deleting wasn’t an option. There were 36 photographs in a reel, used judiciously; and now there are 25 filters for every click, used excessively.

So is this the end for photography? I don’t know. But just as e-books have not yet killed paperbacks, maybe the quantity of photos will not kill the quality; and every once in a while, from a sea of pictures we’ll find one that grabs our attention, and tells a story deeper that what is seen.