Category: About Galleries

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Lord Shiva’s Necklace

Pilgrims were chatting loudly on the quay in Omkareshwar, the holy city of Shiva, going there and back along the boats on the shore. Twilight was getting thicker, almost as thick as masala tea, and I was photographing the melting away light, in meditative mood. Shadows and white pilgrim clothes were getting almost transparent, and the evening was slowly turning into a dream.

Exposed. Already packing the camera, only a metre away from my feet I noticed a snake of shocking beauty. Shining from luminescent green to polished copper, it was flowing away like time. I did not even have a chance to get frightened, so quick it was disappearing in the dark. Watching our step, we returned back to our guesthouse.

Willing to warn the guesthouse owner, I told him about this encounter – a snake on the quay, among people. “Lucky you are”, – he said. “Yes”, – I agreed. – “It could have bitten me”. “This was no snake”, – he replied. – “This was Lord Shiva’s necklace, he sign of good luck. Lucky you are”.

I remembered that Lord Shiva was traditionally depicted with a snake around his neck, like a necklace. And anyway, I was lucky indeed and thanked Lord Shiva.

When you get to India, the crucial thing is not to think that what you see is the essence. A snake is not a snake and a human is not only a human, and all-in-all these are demonstrations of some other substances, which could stay unnoticed in the dust, turmoil and smell mix. That is how it most often happens: in unknown places we tend to judge too quick on appearances, placing the new into the familiar set of notions.

Lord Shiva gave me to feel somehow, hat a good photograph is the one where the subject is just an envelope covering somewhat more profound. And while choosing Indian photographs, I tried to remember his necklace.

Gallery “India, 2005-2009″

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In the age when Google made any information and any place accessible anytime, many of us are more and more curious about smallish things, small points on the seemingly known maps.

I’ve been to Cuba in 2006 and traveled around the island, so in 2012 I decided rather to investigate Havana at length than to hang around different cities. The idea was to make a portrait of a city through the portraits of its inhabitants.

To broaden the perspective a bit, I tried to combine the portraits with some additional details. Sometimes it was a kind of “zoom in” or “zoom out” effect, or an indirect panorama to enrich the visual experience.

Of course, some were interior portraits, and some were street shots, and the details to be photographed were not obvious. I tried to find as many occupations as I could: street traders, artists, butchers, ballet dancers, shoe cleaners are just some to mention.

People were to be found in the streets, on the road around the city. And then, there is also another on the road feeling – the one any photographer has while working on any subject.

“La Habana: Portraits on the Road” Gallery

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On one occasion Dmitry Pirkulov invited me to an airport, where he was going to train flying, and I could see how he was doing. For some reason I was curious and – off we go.

Dima flew away, but, like Karlsson from the roof, promised to come back. While waiting for him, I watched closely the two old immobilized An-2 planes, to be exact, the traces of time on their paint.

The planes were painted several times, and the paint layers were getting cracks differently, forming rich surface patterns, especially pronounced in the early sun rays.

Studying the surface with a macro lens, I arrived at a feeling, that this was a world of other dimensions. Occasionally I called it a world of an ant. I cannot see the roundness of the Earth while standing on its surface, and I cannot see the cracks and colors of the paint, if I look at the planes in their entirety. Endlessly big stuff, like endlessly small stuff, is quite far from us.

And then Dima came back, and we had dinner.

“Airplanes Macro” Gallery

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