Her photographs of over thirty years are being exhibited. They fall into three categories. There are narratives that can be seen as different rhythms of life. These may be scenes from life, or moments from dances and performances. In both the interplay of rhythm and movement, or a harmony of movements, is foremost. Then there are her landscapes in which the moment is supreme and the colour and forms intermesh to communicate to one, as in abstract art. And finally, there are her photographs of monuments that are a visual record of her travels and a peek into history.

Characteristically, she refuses to let the medium take over from her. One cannot say that she is passionately interested in the exploration of a form or a medium to its innermost depths. They all serve as vehicles to carry her moods and feelings to the viewer. In this respect, her flower studies show how things growing slowly and being almost motionless in the photographic moment can communicate feelings that may take years to mature in a person.

On the other hand, her rhythmic works are more interesting as they often include elements the artist cannot have bargained for. This is, in my view, the greatest quality of the photograph. It forces an element of objectivity onto the subjectivity of the creative person that could otherwise become oppressive. It is this that allows art to go beyond the artist. Indeed, unless the art goes beyond the artist it is like those women imprisoned in harems who never flower as human beings but only remain objects to be possessed and viewed.

Take her photograph of a Kole Basava performer waiting for his cue. While he waits like an icon, behind him, partially covered by an orange swathe, is another figure, looking quizzically at the photographer. The contrast between his questioning look and the gaze of the deity brings the real-life distinction of process and performance into sharp focus. This is reinforced by other people standing around casually. As such, it underlines the capacity of the camera to catch those aspects of life an artist might have overlooked momentarily. This, and the capacity of the camera to catch sequences is what gives photography its special flavour.

The exhibition as a whole, naturally, expresses a powerful peripatetic personality. There are things she catches in flight. There are things that get caught. And there are things that are missed out in the wide sweep of creativity this artist negotiates. A survey of her works not only reminds one how much can be done in one lifetime, but also that one sacrifices depth in taking on too many things at once. She, however, manages to cross the Rubican in each one of her artistic pursuits. That perhaps is her greatest quality.

-Suneet Chopra