I to Eye: Shades of Humanity at NGMA Bengaluru examines identity and community

I think it began with Asha herself — walking in and talking about her work, almost like taking us through her process. When I encountered The Meat Eater (a photograph being showcased), it sparked something in me and pushed me to look deeper into her work. What stands out is how instinctive her approach is. This body of work feels very different from her commercial practice — it is more personal, more human and you can sense that in the way she engages with her subjects.

Asha’s work opens up multiple perspectives and touches on different aspects of society, often raising questions beyond her own intentions. She doesn’t approach this as an anthropologist or activist — her process is instinctive. She follows what draws her and that often leads her to stories that quietly challenge norms and explore identity. For me, this became a way to focus on humanity at its most basic level. I wanted to look at these images beyond labels and judgments and engage with them as human experiences. The exhibition invites a way of seeing that speaks to coexistence — our shared needs, differences and even the hierarchies we create. Work and everyday life become common threads, allowing us to encounter people not as ‘others,’ but from an equal, eye-to-eye perspective.

The selection was guided by the idea of work and how it shapes lives — how earning becomes central to identity and how identity connects to community. Photography has an immediacy that allows viewers to connect quickly. Each image holds a fragment of everyday life. Because of this directness, the choice of images becomes crucial. The aim was to create a concise selection where each image stands on its own but also connects with others, allowing a larger narrative to emerge. The visual flow and dialogue between images were equally important.

Yes. The use of black and white was intentional. It strips the image to its essence, allowing viewers to focus on texture, emotion and detail. The gaze — the eyes — was another key element. There is a sensitivity in how subjects look back, creating a quiet but powerful connection. Work acts as a unifying thread. It is through work that identities are shaped and stories unfold, tying the images together.

Black and white brings intensity — it removes distractions and allows deeper engagement with the subject. It also reflects the complexity of life, placing the viewer in a nuanced, almost grey space. This approach extended to the gallery design as well, creating a cohesive visual experience, while also raising a subtle question about the absence of colour in the lives represented.

I wanted to move beyond conventional display. The images are frameless and the clusters vary in size. Larger images draw viewers in from a distance, while smaller ones invite a closer, more intimate engagement. The goal was to create an experience that works both visually and emotionally. Seeing people pause and react instinctively has been very rewarding. It shows the exhibition is connecting in the way I hoped.

I want people to pause, observe and feel life itself. To be more sensitive to the experiences of others. Some frames are placed below eye level, others above, reflecting the hierarchies we live within. The exhibition is not just about aesthetics — it is about how we recognise and relate to life around us.

The next exhibition I’m working on as a curator is quite significant, with large-format works and a broader scope. It’s an ambitious project and I’m excited about creating a meaningful experience for viewers.