Siddhartha Tawadey’s new series, entitled ‘Transparent Hallucinations’, is currently on view at Bose Pacia, New York. As a press release states, it’s a two part exhibit, which endeavors to engage the frenetic as well as psychologically dissonant mindscape of the ever teeming New York City.
Having just completed a residency at the New York based School of Visual Arts, a majority of his works have been conceived/ created in the city backdrop. They have been apparently inspired by navigation of its urban spaces as done by the artist.
The pairing of both movement and stillness evident in the exhibit tends to create a space wherein the viewer is able to enter into the hallucinations independently the collective subconscious of this neurotic city. By paring the imagery to abstracted and disjunctive narratives as well as inanimate objects, the artist lets each viewer explore their very own ‘self-referential sensations’, emotions and revelations’ more so in the context of Siddhartha Tawadey’s New York.
The artist is innovative with his technique of photography. He looks to experiment with vantage points, lighting and framing to create allusive, poetic photographic realms. Borrowing techniques from scientists and filmmakers, and infusing a wave of philosophy, he sets an inventive tone to them. As an avid traveler and observer of life, he strives to break free from conventions.
Siddhartha Tawadey’s s recent series, entitled ‘Transience’ incorporated some new dimensions – a philosophical thought process and movement. These photographs were based on images of Buddhism’s medieval concept of Mujo (literally meaning no permanence). ‘Transience’ was about the momentary aspects of our existence. The philosophy states that life ought to constantly change or else we cease to exist.
The photographs explored this thought in a beautiful way. Through them, he captured a moment as a subtle expression, and not just a form or object. His ‘Transparent Hallucination’ runs at the New York premises of Gallery Bose Pacia (8 September – 22 October, 2011).
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