Friday, April 6, 2012

On view at Pradarshak - “Coherence” – An exhibition of photography by R. V. Bedarkar

9th Apr – 21st Apr.’12: Pradarshak presents “Coherence-Aesthetically ordering the usual” – An exhibition of photography by R. V. Bedarkar

Second exhibition of photographs by R.V. Bedarkar, the show focuses on everyday happenings and findings that exist around us. As a commercial artist and photographer, Bedarkar very diligently pursues his passion, firmly believing and living by the adage that “The creative process must not be limited by self imposed obligations of established style or approval by others”. For him, the fascinating feature about this medium of visual art is that it does not demand something grand to be photographed; an insignificant object and mundane ambiance too can be portrayed powerfully.

Using this simple principle Bedarkar hosts his second exhibition titled, “Coherence - Aesthetically ordering the usual” classified by ‘simplicity’, where original creations appear simple and uncomplicated; the unsolicited details making the compositions repetitive and complex for the viewers to interpret.

Bedarkar’s creative contemplation fosters fundamentally sound compositions. The artist says, “Only when the basic composition is strong, does it become easy to come out with a striking picture at a later stage”.


About his current exhibition, Bedarkar informs that these photographs are taken sans any pre-conceived theme. Consequently, subjects and situations are captured on ‘as is where is’ basis. The objective has been to take visually pleasant photographs with distinct compositions acceptable to one’s visual understanding. 

“It is instinctual,” he explains. “In the rush for time, one has to get hold of whatever best one can from the accessible light, time and space. In such a situation one does not get an apparent and clear-cut perception of the prospective photograph. Yet the likely photograph is hidden within the expanse of the view before one’s eyes. As every frame of life passes one by in quick succession, one is not able to identify the exact thought flow motivating one to take the photograph. However, there definitely exists this subtle thought together with a vague visualization, which constantly urges one that, yes here is the stuff. Go! Click it!”


The photographs capture anything and everything: walls, staircases, windows, doors, metals, stones, fabrics, domestic devices, ornaments and the like. All the pictures are clicked by a digital SLR camera in natural available light, as and where they existed. No reflectors, flash light or other additional light source is used, and neither is a tripod. 

In some images the subject itself is the center of attention. In another, a specific shade of a color has covered the entire composition. Elsewhere, the spotlight is on an unusual pattern. In all, the visual appeal remains the governing principle. Consistent observation of fine quality work brings in the optical wisdom. It familiarizes one with nuances of a visually balanced composition.


“After traveling near and far-off, clicking a few photographs here and many there, to select a few images by negation and assertion from this stock and translate them into a few striking images is the most fulfilling moment of all,” Bedarkar concludes.

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