Recently, I’ve been looking a lot into theories of photography for sure, and also photomontage works. I used to have this narrow vision of photography of Bresson’s decisive moment, praising Magnumphotos as God, and that was it for me for photography. Blindly ignoring what a big world is out there for making work with images. Maybe it was a good thing, so to just focus on one type of photography or maybe it was a bad thing, because there are so so so much more other possibilities with photography.
What changed me was, I got tired and bored of decisive moments. They are yes, decisive moments, of what claims to be moment of “truths”. Yet theories of photography opened up the question of photography as a medium. I mean, really opened up how I view and understand this medium. And photomontage, is one way of working with images that I feel I’d like to have a taste on. Similarly to decisive moments, there are already materials to work with (former, with what’s happening around the world; latter, with archival images and other materials).
Most immigrants exist in two worlds, the world of memories and visual connections of their growing up and the new realities of living in a culture where all is not familiar. This search for what is home, for the roots of that connect them to the most primal self is the main theme of Priya Kambli’s work.
“Buttons for Eyes” talks about loss, memory and identity (I guess I have a subconscious love for identity and loss, because of the work I’m drawn to). Kambli physically manipulates old family photographs and then rephotographs the altered artefacts. She uses light and flour as manipulative elements to add layers for starting a dialogue about cultural differences and global similarities.
© Priya Kambli, from the series ‘Buttons for Eyes, 2017- ; Source @ Lenscratch
She works with archival images which allows her to connect the past with the present, to bring forward memories, and to reimagine them adorned with tokens of the everyday – in a sense, making these memories physical. The way in which she maintains the photographs is akin to how Indian housewives tend to their kitchen deities – hence the use of flour. The meticulous patterns crafted on it symbolises the “Indianity” of her past identity (literally these patterns of flour can be blown away in seconds) – imprinted onto a physical form that she is re-creating for the present.
Much of the work talks about the separation and the exchange of cultural differences and similarities between herself and her sister, whom chose to stay in India whereas she immigrated to the US after their parents passed away.
There’s a final layer of narrative to this work which comes from the title “Button for Eyes.” It comes from a question her mother used to ask, “Do you have eyes or buttons for eyes?” Her mother’s concern was about Kambli’s inability to see trivial objects right in front of her, but also about our collective inability to see well enough to navigate the world. “It is a question laced with parental fear,” she says. Which goes back to, are we ignorant to these cultural differences and global similarities in the world? The laced patterns on the images may also symbolises not only the ignorant we ourselves may have, but those that derives from the parental fear in order to protect their children.