In the frame

Diwan uses painting as a backdrop and actors or models with painted bodies are positioned in front. None of the photographs is computer generated and Diwan works painstakingly in the dark room. On the slide,comes alive a startling picture — a woman’s body in a white shroud as if on a different “plane”,one that’s serene,green and ethereal with images associated with death surrounding the body. This is from his series Shores of the Unknown. “We experience death everyday,sometimes emotionally,physically or psychologically though no has seen what death could be like,” adds Manna,who is also chairperson of the Chandigarh Lalit Kala Akademi,“The colours too are chosen with care,none of this is a coincidence.”

There is also work that Diwan did after the Iraq war. The pictures of death and devastation flashing on television daily made him reflect and wonder. “These images were shameful,and so the series depict sensitively emotional bonding,” he explains. “Art has to work upon the mind and it’s about novelty,freshness. It must not be repetitive,we have to take art as a pure science and be constantly informed,educated and updated about it as we are in other streams.” The photographer moves on to self-portraits to expand the boundaries and look for others within himself.

Wheel of Time comprises pictures of the Tube in London,depicting the musicians moving from one coach to another and adding life to the otherwise quiet and impersonal scene. Varanasi and its contrasts too,have captivated his camera. “It is one of the oldest continuing cities and this series is an actual representation and commentary on daily life,with sadhus,faith,the Ganga and boats,” he says.

The Dhaba series,in contrast,is black and white and close to life. Depicting the day and life of the workers,Diwan zeroes in on a dhabha in Sector 15 where he would eat often. “Despite the struggle of their lives,they have such a sense of joy,” says Diwan. It’s the light of their eyes that brighten up these pictures.