Exploring the depth of Mumbai

The photographs at ‘Black Windows of Bombay’ a photo exhibition at ICONART Gallery, Hyderabad explore the realities of Mumbai that is away from glitz and glamour of South Mumbai - the stark everyday living conditions, the frenzied life, of dreams and despair, of ambition and hope.

Avani Rao Gandra says, “The element of contrast plays high on Mumbai streets - the very rich and the very poor, the right wing and left wing politics, the tradition and high modern, the frenzy and the resilience. The ambition and high aspiration are surprisingly balanced with a very giving and ethical outlook on the general street level, These aspects interested me in exploring in depth on and off, over six months, the bylanes, chawls and slums.”

“I sought for imagery that reflected this ambiguity, more of a symbolic and allegorical kind of elements than a figurative, representation of human form. I looked for architectural, historical aspects and the social, economic spaces and living conditions,” she adds.

One can find windows that speak of lives in her photos, about which she explains, “The windows of chawls spilling out with household objects reflected a lack of privacy, personal space, at once speaking of the economic, health, deprivation and suppressive nature of living.

It opened further questions of philosophical outlook - the whole idea of immigration, the pressure of sustenance, sharing, etc.”
“And even my favourite are the windows that spoke many stories of its inhabitants as they opened a multilayered dialogue of life in Mumbai,” shares Avani.

She has consciously avoided tourist spots and people of Mumbai, “I consciously avoided touristy spots that symbolically represent Mumbai - like Gateway of India or the Chowpatty, the Seaway link, etc.

The idea was to leave the image open ended to multiple readings and access it through differing philosophical, social, poetic, political dimensions - of people living in pigeon holed chawls of Worli, the working class engaged in their differing professions in Dharavi, the frenzied rush hour at Victoria terminus - as windows that open questions, of engagement and energy.”

“I purposely avoided human figurative representation to the minimal so as not to make the story closed in and representative.” Before showcasing in Hyderabad, the photos were shown at Jehangir Art Gallery, Mumbai.

“The connect of locals with the photographs was interesting - people from all fields, philosophers , psychologists , economists , artists , housewives , architects could read many meanings the photos offered -this was for me a satisfying experience.

Any new place is experienced with a heightened consciousness, the details, the contrasts, the character of a place and its people are seen with openness,” she relates her experience.