Guide Reflections : A Collection of Poems and Pictures

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Autumn reflections

Necessary Always Enabled. Reversed Curses is one such instance of this. Shobha Broota, The Rhythm , , oil and acrylic on canvas, x cm. I would like to underline the importance to Jungian discourse on the mandala, which can be found not just in Vedic religion but also Buddhist, Native American and Australian Aboriginal cultures as symbols of wholeness and the universe. And there is rhyme between the terracotta of the building in the top left-hand corner and the blurred form in the bottom left.

These meet along the x-axis: the camera records them as being of similar size and colour. Raw experience presents itself to Aarav, as it does to all of us, as a mixture of the known and the unknown. If the train was still, the blurred pink form might be recognisable as perhaps, litter.

These blurred patches of colour, like unspoken thoughts, seem to be acquiring a real significance to the project. Two colours leap out at me in the edit I have prepared for Third Text. The first is the Bengal pink mentioned above, which can also be found in the pigments thrown at Holi the Hindu spring festival , in the washing hanging from clothes lines and draped over buildings, and the lotus flowers held by Parvati and Ganesha in the calendar.


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It would be easy to extrapolate on the significance of each of these colours to the scenes in which they appear: nowhere is colour more loaded, more laden with associations, than in India. But I would like to stress that their presence in my sequence is far more intuitive than programmatic and in this sense, again, there is an analogy with rhyme. Consider the close proximity of saffron and Bengal pink to one another on a CMYK colour wheel, and look again at the way they bleed into each other in the pigments on the backs of the horses:.

In the CMYK model, neither saffron nor Bengal pink contain any cyan, and both have yellow and magenta in common, of opposing ratios.

I am at the very early stages of learning Hindi and so find myself tuning into the lyrical qualities of the language, just as I am drawn to the colours of its landscapes and street life. Many of the pictures I am making here exist somewhere in that liminal space between the staged and the candid: I have been looking at the classic street photography of figures such as Raghu Rai, Joel Meyerowitz, Garry Winogrand and Lee Friedlander.

One of the pleasures of a train journey is that, if so disposed, you can find, whilst looking through a window, an agreeable mental balance between your inner thoughts and the rapidly shifting outside world. This headspace lacks the tyranny of meditation, with its insistence on elimination of unwanted thoughts, or the dizzying distractions of television channel hopping or web browsing. It is as if the train journey is a song, of fixed duration, forward momentum and a pleasing mixture between the anticipated and unanticipated; between elements both within and outside of our control.

A metaphor for life itself.

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What I had thought would be a melancholic voice is surprising me by becoming more salutary. Trees, water, animals and women. Trees grow….

Philip Larkin

What kind of change does Aarav need to recuperate happiness? We must always be prepared to learn something totally new. Does the revision he feels the need to make entail leaving his wife, his religion, his own life? Whatever the change he needs to make, it will be an intuitive decision and formed in large part by the various forms of rhyme with which I am structuring the project. There are the literal rhymes of the octaves that constitute the poetry track. There are the visual rhymes formed by the two quatrains that form each octave.

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Most importantly though, there are the chromatic rhymes. Colour gains significance through relation with other colours. And I want this relativistic way of seeing to be at the centre of Reversed Curses.