Through her lens, photographer Ulka Chauhan wishes to create work that is meaningful to her and that touches others. Her recent project 'The Memory Keepers - A Prelude' is part of a group show titled, 'Over A Hundred Summers' that is on at Hosa, Siolim. Curated by Samira Sheth, it celebrates the timeless architectural heritage of Goa. It has been exhibited along with the works of celebrated Goan artists - Dr. Subodh Kerkar, Shripad Gurav, and Siddharth Kerkar.
Excerpts from an interview:
Q. What inspired you to focus on Goan homes and their architectural heritage?
In an age of mobility, of frequent locating and relocating, I am drawn to the story of the Goan homes. Having remained in the same family for generations, these homes with lineage that are 300-400 years old have a rich and storied past. My own search for the meaning of home has led me to visually and textually document these age-old Goan homes that continue to function as homes and are deeply rooted in the geography. When I began working on this project three years ago, it was the architectural aesthetics of these homes that captured my intrigue. But over the years, as I visited and revisited the homes, it was their stories and fragments of memories of its residents that captured me.
Q. Could you elaborate on the unique blend of native Goan and Portuguese styles in the homes you captured?
In my photography practice, I like exploring stories that lie at the intersection of two worlds. My first book titled 'Two Worlds' is an exploration that contrasts and connects the linear and structured world of Switzerland with the cyclical and chaotic world of India. This particular story 'The Memory Keepers' is also at the crossroads of the two distinct worlds of Goa and Portugal. The confluence of faith and beliefs, lifestyles, and styles has resulted in homes that have a blend of Goan and Portuguese influences. The presence of both an 'aangan' and a 'balcão' in a home is one classic example of this. A statue of baby Krishna on a home altar and Indian mythological references in the intricately carved furniture are other examples of this amalgam.
Q. How do you believe your work contributes to preserving the cultural heritage of Goa?
Being both an insider and an outsider in four countries across four continents, makes me look at things differently - seeing them not only with fresh eyes but also with a critical distance. While my work at the surface is about the rich architectural and cultural heritage of Goa, if you dig deeper, at its very core it is an exploration of roots, identity, and belonging, themes that I often reflect and introspect on. The personal stories of the families reveal a deep emotional connection to the home and the land. In the current migratory times when the narrative of home, hometown, and homeland is constantly evolving, I find myself drawn to the story of the Goan homes which are firmly rooted in place and time. I hope that my work will capture others in the same way that the Goan homes have captured me.
Q. As a photographer how do you capture the beauty of a heritage house that is still lived in contrast to one preserved as a museum?
Each of the homes featured in my work is alive and flourishing. They are homes that continue to function as homes, a stage on which the rituals of daily life play out. My background in the genre of street photography has taught me the valuable art of seeing the beauty in the everyday and ordinary moments. After visiting and revisiting the homes over a period of three years, I have captured many candid moments, the routine of day-to-day life as it unfolds within the textured walls of these age-old homes.
Q. Considering the passage of time as a central theme in your work, how do you think these historic homes will continue to evolve in the future?
Time and place are recurring themes that I explore through the visual and literary constructs of my work. My upcoming book, 'The Memory Keepers; Future Seekers', is an exploration of not just the past and present but also reflects on the futurity of heritage homes.
Q. Can you share insights into your creative process, especially when it comes to capturing the 'gentle blur of past and present' in your photographs?
In art and in life, what we leave out is as important as what we put in. This adage is an important part of my creative process. I like works that have a quality of ambiguity. Works that reveal but also which withhold, inviting the reader or viewer to be part of the meaning-making process. I like applying this curiosity gap in my practice, not only to create a sense of mystique but also to blur the lines between past and present.
Q. How has your background as an artist influenced your perspective and approach to documenting architectural heritage?
Photography is all about perspective. If you shoot from the same angle, you will see the same things over and over again. But if you change perspective, shoot from above or below or from the side, we might suddenly see old things in new ways. My pictures of the silhouetted portraits of Goan windows are taken from a different perspective - shot from the inside looking out, onto paddy fields and palm trees, onto a Goa that is at once familiar and at the same time, changing. Also, while shooting the interior spaces of these homes or candid shots of daily life, I have framed my pictures through a series of door frames. Capturing frames within frames gives the depth and scale that draws the viewer through the extensive length of these homes. They say frames help shape the way we see the world. I hope that my frames help bring fresh perspectives and insights and spark new conversations about Goan homes.