Das began his photographic career as a photojournalist, and worked with The Telegraph, Outlook and India Today, photographing the ULFA insurgency, the Taliban's invasion of Afghanistan, and cultural unrest in North- East India. In this body of work, however, Das demonstrates a different approach to photography, his images reveal an evident personal resonance and empathy towards his subjects. Rather than presenting an impartial narrative, he instead invites contemplation, encouraging his viewer to permeate the somewhat unfamiliar world of monks, devotees, 'Nagas', Sadhus, and other individuals seeking spiritual enlightenment. Das' subjects often seem detached from the material world, aware of the camera or not, they seem to only half exist in our world and reality, where they become timeless.
Das' evident personal connection with these diverse spiritual philosophies and practices, allows the viewer to adopt a renewed gaze and perspective on these holy cities, which, although venerated by many, are often criticised for overwhelming visitors with their crowds, dirt and propagations of false spiritual power. Das' photographs therefore function as a visual critique questioning and provoking our prevailing notions of reality, memory, the finality of death and the legitimacy of material existence, with an aesthetic reminiscent of the subconscious rather than the conscious.
About Saibal Das - Beyond the Birth of Time
Viewings: 5 Jan 15 - 15 Jan 15
Tue - Sat: 11:00 am - 7:00 pm
Sun: 11:00 am - 4:00 pm
Saffronart,
The Oberoi Hotel
Dr. Zakir Hussain Marg
New Delhi - 110 003
Tasveer and Vacheron Constantin, with the support of The Singleton of Glen Ord are delighted to present the exhibition Before the Birth of Time, by Saibal Das, at SaffronArt, New Delhi.
With the vision of a poet Das’ series of black and white silver gelatin prints, visually explore some of the most significant yet shrouded pilgrimage sites, spiritual ideologies and religious practices in India. Moving beyond photojournalism, these photographs are sensitive, empathetic illustrations that embody the sense of calm, divinity and blissful isolation exuded by his subjects, the environment, and its context. Contemplating life, death and the spiritual journey to the inner ‘Self’, Das reveals unseen characteristics and the concealed realities of the people he photographs and the landscapes they inhabit, revealing his own contemplative and meditative sensibility.
Das began his photographic career as a photojournalist, and worked with The Telegraph, Outlook and India Today, photographing the ULFA insurgency, the Taliban’s invasion of Afghanistan, and cultural unrest in North- East India. In this body of work, however, Das demonstrates a different approach to photography, his images reveal an evident personal resonance and empathy towards his subjects. Rather than presenting an impartial narrative, he instead invites contemplation, encouraging his viewer to permeate the somewhat unfamiliar world of monks, devotees, ‘Nagas’, Sadhus, and other individuals seeking spiritual enlightenment. Das’ subjects often seem detached from the material world, aware of the camera or not, they seem to only half exist in our world and reality, where they become timeless.
Das’ evident personal connection with these diverse spiritual philosophies and practices, allows the viewer to adopt a renewed gaze and perspective on these holy cities, which, although venerated by many, are often criticized for overwhelming visitors with their crowds, dirt and propagation's of false spiritual power. Das’ photographs therefore function as a visual critique questioning and provoking our prevailing notions of reality, memory, the finality of death and the legitimacy of material existence, with an aesthetic reminiscent of the subconscious rather than the conscious.
Before the Birth of Time is Saibal Das’ third exhibition with Tasveer, and the exhibition is accompanied by a new book featuring a specially commissioned text by Naveen Kishore — publisher, writer, photographer, and founder of Seagull Books Kolkata. Kishore’s poetic response and dissemination of Das’ images give these photographs an added dimension, illuminating Das’ otherworldly imagery through his poignant musings on death and our concepts of memory and faith.