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SNEHA KAR
photographer | visual artist
![ami odrishyo hosto [the invisible hand]](https://static.wixstatic.com/media/7c95ec_fe83f50c67aa42a2a95ab5fe69184704~mv2.jpg/v1/fit/w_376,h_250,q_30,blur_30/7c95ec_fe83f50c67aa42a2a95ab5fe69184704~mv2.webp)
![ami odrishyo hosto [the invisible hand]](https://static.wixstatic.com/media/7c95ec_fe83f50c67aa42a2a95ab5fe69184704~mv2.jpg/v1/fill/w_2200,h_1465,q_90,enc_avif,quality_auto/7c95ec_fe83f50c67aa42a2a95ab5fe69184704~mv2.jpg)
ami odrishyo hosto [the invisible hand]
My grandmother is fiercely independent, loyally idealistic, with a tingling arrogance, she clings to objects, memories to somewhat preserve a time gone by. Her sense of space is chaotic but it is her own. Colours scream at you from different directions, a plethora of smells creates an aroma that only her home creates. For the obedient eye trained under societal norms, it is seemingly a chaotic existence.
Reading that description in the past tense still stirs something deep within me. I am glad I took those photographs, reminders of the times I patiently waited for her to forget the camera’s presence. It was a privilege to be her person, to share a bond that felt almost telepathic, guiding me to discover my own identity.
Reading that description in the past tense still stirs something deep within me. I am glad I took those photographs, reminders of the times I patiently waited for her to forget the camera’s presence. It was a privilege to be her person, to share a bond that felt almost telepathic, guiding me to discover my own identity.
in search of the goddess
In 2016, I ventured to Calcutta during the height of the celebration for Kali, on the no moon night that brings the city alive like no other. As dawn approached, the atmosphere buzzed with fervor, underscored by the orange glow of sodium lamps and the enticing aroma of burnt crackers. The streets, teeming with people, showcased Calcutta in all its vibrant chaos. It was my inaugural visit to Kumartuli, a veritable factory of deities, where last-minute preparations were in full swing.
Amidst this bustling backdrop, the tireless efforts of the unsung heroes of the night stood out, navigating the narrow, winding paths toward the banks of the Ganga. Pausing momentarily at the Ghat, we witnessed the immersion of last year's goddesses—a poignant ritual of releasing the old to embrace the new. Despite the late hour, life continued unabated; the jhalmuri vendor, the barber, the ferry ticket collector, all carved out their roles, ensuring that Calcutta did not let her citizens down.
We boarded a ferry, crossing the river toward Halder Bari, located on Radhanath Kabiraj Lane in central Calcutta, a site steeped in history with puja traditions dating back over 250 years. My eagerness to experience the timeless ambiance of a 'Bonedi bari' Kali puja was heightened by the knowledge that the main ceremony would unfold solely in candlelight. The family welcomed us warmly, enveloping us in an atmosphere rich with old-world charm—a rarity in today’s fast-paced world.
One significant evolution in the practice since 1942 has been the shift from animal sacrifice to vegetables, though the echoes of tradition still resonate. I hadn’t anticipated witnessing a sacrifice, yet in Calcutta, the persistence of ancient rituals is ever-present. The cremation ground, considered Kali's abode, hosts the puja with a grandeur that is unmistakable.
As we navigated through the crowd, a suddenly overwhelming scent enveloped us, quickly revealing the grisly scene: headless goats being hurriedly moved. An energetic surge ensued as devotees clamored for fresh blood from the site of sacrifice, smearing it reverently on their foreheads, caught in a fervor that blended chanting with delirium. Such visceral experiences are an indelible part of Kali's essence.
In her primordial nakedness, Kali is free from all nuances of illusion. She screams ‘Devi’ like no other.
Amidst this bustling backdrop, the tireless efforts of the unsung heroes of the night stood out, navigating the narrow, winding paths toward the banks of the Ganga. Pausing momentarily at the Ghat, we witnessed the immersion of last year's goddesses—a poignant ritual of releasing the old to embrace the new. Despite the late hour, life continued unabated; the jhalmuri vendor, the barber, the ferry ticket collector, all carved out their roles, ensuring that Calcutta did not let her citizens down.
We boarded a ferry, crossing the river toward Halder Bari, located on Radhanath Kabiraj Lane in central Calcutta, a site steeped in history with puja traditions dating back over 250 years. My eagerness to experience the timeless ambiance of a 'Bonedi bari' Kali puja was heightened by the knowledge that the main ceremony would unfold solely in candlelight. The family welcomed us warmly, enveloping us in an atmosphere rich with old-world charm—a rarity in today’s fast-paced world.
One significant evolution in the practice since 1942 has been the shift from animal sacrifice to vegetables, though the echoes of tradition still resonate. I hadn’t anticipated witnessing a sacrifice, yet in Calcutta, the persistence of ancient rituals is ever-present. The cremation ground, considered Kali's abode, hosts the puja with a grandeur that is unmistakable.
As we navigated through the crowd, a suddenly overwhelming scent enveloped us, quickly revealing the grisly scene: headless goats being hurriedly moved. An energetic surge ensued as devotees clamored for fresh blood from the site of sacrifice, smearing it reverently on their foreheads, caught in a fervor that blended chanting with delirium. Such visceral experiences are an indelible part of Kali's essence.
In her primordial nakedness, Kali is free from all nuances of illusion. She screams ‘Devi’ like no other.
strange things, daydreams
chaitra
behind the scenes of a film shoot in Himachal Pradesh
Shoot was to happen in various locations that were otherwise restricted to general public, a small-ish crew, a terrain that would be demanding in terms of production especially given a tight budget comparatively. I spent four days out of the five days they shot at Himachal Pradesh, tagging along and being as invisible as possible documenting them in their element. We braved the uncertain weather, logistics going haywire, DIY galore and our equipment travelled on horse back.
Behind the scenes of Marathi film Manache Shlok.
Directed by Mrunmayee Deshpande.
Special thanks to Sanjay Dawra, Abhijit Abde, Rahul Pethe, Karan Parab and the entire team.
Behind the scenes of Marathi film Manache Shlok.
Directed by Mrunmayee Deshpande.
Special thanks to Sanjay Dawra, Abhijit Abde, Rahul Pethe, Karan Parab and the entire team.
noir
teabox
teabox x good earth
karanji
As a permaculture designer, I accompanied my teacher Clea Chandmal to the village of Karanji in Maharashtra to learn on the job and also document the process. The project in hand was to adopt one acre from five farmers of the region with very different profiles to demonstrate how permaculture as a design process can transform farming as they know it. Tree-based, non-monoculture, design-led, self sustainable, resilient, seasonal and most importantly nutrient dense. The project was carried out over a couple of months and has been further adopted by many post the demonstration. Altering and educating permaculture at a grassroot level.
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