Indian photography has largely been confined by the styles and gaze introduced by the colonial masters who brought photography to India immediately after its invention in the 1820s. Even today, any photograph that elucidates immediate response – be it exotic or a shrilling image of a tragic moment attracts the attention of the galleries and traders. In the West, there have been many divergent styles within photography, its technique, and practices. Here, only photographs that fall within a narrow range of formats enjoy a viewership and are patronized. Steering away from these confines and carving a special niche is important to fully explore the potential of this medium. In India, there have been very few photo artists including myself who have deliberately tried to break the boundaries. In recent years, many young Indian artists have begun exploring the experimental dimension of Photography. Though late, this is a promising threshold as far as Indian photographic practice is concerned.
Arun Inham is a young artist based in Vadakkara, Kerala. In 2016, he developed an interest in photography and started documenting his surroundings. During the pandemic lockdown, he worked on a body of work titled A Canvas of Motions. This work combines photography, theatre, sculpture, and performance. The constructed still-life photographs are experimental and creative. It is possible to find the influences of other artists in his works. However, it reveals the personal trauma of the pandemic locked up times. It is dark, non-graphical, deeply personal, regional, and intriguing. In his first, A Canvas of Motions was showcased at the Images of Encounter online group exhibition.
– The Editor