Suvra Kanti Das is a photojournalist whose works refer to the genres of romanticism, grand-guignolesque, black humor and symbolism, that seems he creates work through labor-intensive processes which can be interpreted explicitly as a personal exorcism ritual. In fact, he is inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By demonstrating the omnipresent lingering of a ‘corporate world’, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
Das’ photographs appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By questioning the concept of movement, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted which only exist to punctuate the human drama. Clarifying our existence and to find poetic meaning in everyday life.
His work doesn’t reference any recognizable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By exploring the concept of landscape in a nostalgic way, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.