Sebastian Cortés captures the rich heritage of Chettinad in ‘Time Present, Time Past’ exhibition

The ace photographer is known for capturing the forgotten histories of India’s architectural heritage
A photograph from the Chettinad series
A photograph from the Chettinad series
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When Sebastian Cortés, a fashion and lifestyle photographer from New York, relocated to India two decades ago, little did he imagine that he would go on to capture the country’s heritage through his distinctive photographic lens. His stunning portrayals of old homes in towns like Sidhpur and Puducherry tell stories of buried legacies. His latest exhibition, Time Present, Time Past, showcases works from the Chettinad series, along with photographs from Puducherry and Sidhpur. Indulge caught up with the photographer to dive into the details of the showcase. Excerpts…

What was the inspiration behind the project?

The inspiration came from my book on Puducherry. Several people living in Chettinad, who were working with UNESCO, had seen my book and suggested that I visit Chettinad because they felt my photographic style would be well-suited to the region. A French couple, who own a mansion there and work for UNESCO, offered to host me.

I’m fixated on the idea of heritage. I believe that there is a unique and beautiful architectural legacy that reflects both national pride and moments of economic prosperity. When the wealthy merchants of Chettinad became successful, they travelled, encountered different cultures, and brought back new influences, developing a taste for a particular kind of architecture. This was something I felt compelled to capture.

Chettinad is peculiar because the dimensions of these homes are enormous, almost palatial. The architecture blends elements of vastu, traditional temple designs, and European influences, incorporating European materials like Italian marble and columns imported from Italy. To me, it’s like an intricate orchestra of imagination, shaped by a worldly perspective. There is always a deeper layer of meaning and a story behind each image.

Sebastian Cortes
Sebastian Cortes

How do you choose the pictures and locations for a series?

I always prefer working with someone who knows the area. These insiders, whom I refer to as ‘door openers,’ help me gain access to places and offer guidance. For me, the process is one of discovery, with my camera, tripod, and transportation as my only tools. I tend to start early in the morning, usually photographing during midday, and I focus on one or two locations a day. I like to immerse myself in the space, taking my time to capture the essence of it. I’m not an architectural photographer in the conventional sense. I’m more interested in capturing the myth, the mood, and the general feeling of a place.

What is the highlight of this project?

For me, it is the discovery it offers to others. When I presented it at the Chettinad Festival, I saw how people were moved by my interpretation. While there are other books on the region, my approach is quite romantic. I aim to saturate my images with natural light, creating an atmosphere that transports the viewer to this special place, giving it an almost otherworldly feel. I’m not focused on the details but on the emotions and sensations the place evokes.

What draws me to the ordinary, especially the vernacular, is the chance to enter people’s lives. I’m an intruder, a visitor who knocks on doors, and when welcomed, I begin to observe. My career started in fashion photography, where I created myths to sell a product. Here, I’m searching for myths that already exist, uncovering them rather than creating them. I’m doing what photography was meant to do—recording not a truth, but an emotion that can resonate with the viewer.

I take pleasure in putting the images together, much like a painter with their canvas. I believe beauty exists everywhere, and my job is to find it.

Which of your projects would you consider the most challenging to shoot so far?

Each of my projects presents its own unique challenges. The first one, Pondicherry, was particularly difficult because I wasn’t sure what I was doing at the time. I arrived in India in 2004, planning to live in Auroville after leaving behind my career as a fashion photographer. I was disillusioned and unsure of what direction to take. Then, someone who had seen a book I did on the homes of Italian poets suggested I explore Pondicherry. What started as a loose idea took four years to develop, with different interpretations along the way.

Sidhpur, on the other hand, was the project where I truly found my style. I was able to create the exact mood I wanted without it feeling like documentary photography, and I succeeded in stylising it as I envisioned. Chettinad, in contrast, presented its own challenges due to the repetitive nature of the homes.

For me, the real challenge is to keep things fresh and exciting. I want to meet new people, enjoy their food and homes, and form lasting friendships. The greatest joy comes from being invited back and knowing that my work has resonated with those who opened their doors to me. Heritage was once mainly associated with temples in India, not homes, but my work has helped raise awareness about the importance of preserving domestic architecture.

What are your upcoming projects?

I’ve completed three major projects, and there are many others halfway done. My focus now is on finishing the Chettinad book. As for new projects, there’s one I’m particularly interested in—photographing closed churches in Venice.

Entry free. January 17, 11 am to 7.30 pm

At The Folly, Amethyst, Royapettah

sangeetha.p@newindianexpress.com

@psangeetha2112

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