Manisha Gera Baswani: Capturing art and stories across borders

From her early days as a student at Jamia Millia Islamia to her ongoing 25-year project Artist Through the Lens, documenting the art world, Manisha Gera Baswani’s journey as an artist and photographer has been organic and multidimensional.

At Jamia, Manisha found her greatest mentor in artist A Ramachandran, who played a pivotal role in shaping her artistic and personal development. “He was not just a teacher but a multifaceted individual and a recluse whose conversations extended beyond art to encompass music, literature, and life,” she reminisces. Through her interactions with him, she found herself not only learning but also documenting. Armed with a still camera and a film camera, she began capturing his life and work.

In 2000, her friend Anjum Singh, daughter of artists Arpita and Paramjeet Singh, invited her to photograph the process of setting up an exhibition. Manisha agreed enthusiastically, and the experience marked the beginning of a lifelong project. “I had no plan to make it a project; I did it because I loved it,” she explains, reflecting on the philosophy that continues to guide her work. “During the pandemic, I dedicated nine months to consolidating eight hard drives into one, adding every possible detail. This level of documentation will hopefully be a goldmine for future researchers.”

“When I go to an artist’s studio, it’s a vulnerable and beautiful space — a temple for creation. It evolves you. It’s a space of learning and inspiration. Most of the artists featured are friends, and we meet in a space of mutual respect for each other’s work.” Manisha’s project required her to navigate challenges, including photographing artists whose work she does not personally connect with. “I had to shed my ego and judgment to document important bodies of work. In the process, I grew,” she admits.

Another project of hers, Postcards From Home, began as a journey to document art and soon evolved into an emotional archive of stories that bridge India and Pakistan, deeply intertwined by a shared yet fractured past. Manisha recalls her solo exhibition in Karachi in 2015, facilitated by her friend and artist Mohammad Zeeshan. Their friendship was born at an art camp and blossomed into collaboration, with Zeeshan curating her show at Sanat Gallery. It was during this visit that Manisha’s project took an unexpected turn. “I asked Zeeshan to take me to artist studios, no agenda, just something in my heart saying I had to photograph them,” she shares.

As she met and photographed Pakistani artists, she discovered stories that resonated deeply, mirroring those of her own family, who had experienced the Partition. One particularly moving encounter was with Ahmed Khan, an 87-year-old sculptor. “He held my hand and said, ‘Beta, since 1947, neither have I met an Indian, let alone a Hindu.’ He shared his last memory of leaving for Pakistan, and I realised I was the first Indian to visit his studio. His story was one of longing and loss — a reflection of so many untold tales.” These encounters became the foundation of Postcards From Home.

Despite the accolades, Manisha remains grounded in her philosophy. “As an artist, you create for yourself, not for the audience,” she asserts. “It’s about the joy of creation, not the outcome. Yet, seeing delight in someone’s eyes at an exhibition is a reward in itself.”