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Kolkata-based photographer Ronny Sen ruthlessly lays bare his inner and outer universe through ima

oth raw and stark. Armed with his personal visual vocabulary of urban tedium and the monoton

rdeals of everyday city life, Sen presents snatches of his reality through frames both breathtaking in t

omposition and shocking in their tactile honesty. Below are excerpts from an interview.

arni Ray: Lets begin at the beginning. How did photography happen to you?

Ronny Sen: My introduction to photography wasnt very ceremonious and happened naturally, like m

eople from my generation, through parents etc. But around sixteen, seventeen, I went through a bit

ough spell, a crisis period, if you will, and my father thought it suitable to have me sent to Siliguri. He

ought me a Sony point-and-shoot before I left and in Siliguri, amidst my boredom and the loneliness

oon ensued this came in handy. I started clicking photographs mainly to pass time, as a way ou

oredom. I was always interested in visuals but now it became a means of relating to the world around

had no money and little to do and soon I realized photography allowed me to express myself w

onesty. If I could write and be honest through words I would have written instead

R: How would you classify your works? If it were up to you, what genre would you club it under?

RS: See, I find any form of genre classification of photography rather cheap. But yeah I guess you woall most of my work autobiographical. I usually travel alone, always have. I have often been penniless

orced to travel as cheap as possible. I travel often. Once I fled away to Nepal, all by myself, later I fle

enaras. My previous series on trains emerged out of many such experiences. When you are crus

midst the crowd in a general compartment often you find moments, scenes which you want to show to

world in an attempt to say "look I was here."

R: Speaking of your train series, interestingly enough, quite in contrast with the recent slant in ur

hotography, your works are full of people. There is a plethora of faces, portraits, character sketches

he train series, for instance, people are almost brimming over the frame!

RS: I have always been genuinely interested in meeting new people, speaking to them. I grew up

alcutta and came to understand the city space in terms of the crowd and the chaos. I therefore do not q

elate to the "modernist" primness of the spaces usually featured in contemporary urban photography. T

eem rather distant to me.

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R: In what way do you think this particular series differs from your previous works?

RS: These works are much calmer. Since many of my other works follow on the lines of hardcore st

hotography they have a sense of spontaneity, a certain velocity. Comparatively, this series is m

anquil. Only the two of us inhabit the frames and are therefore more conscious subjects. There is al

ense of helplessness in the images. These photographs were all taken in these three rooms we had rente

iliguri. It was the first time we were living alone. Of course, the conditions were nothing to write h

bout, as you can see, its all very makeshift and disheveled. But there was nowhere else to go. I had

money to come back home. These elements I think have seeped into the photographs.

PR: Is this your first use of models in your photography? How does your former experience of d

hotography differ from these model-oriented, choreographed works?

RS:I wouldnt call these works choreographed at all. As for the models, there is just me and my part

nd we arent models. The photographs are rather an extension of the time we were spending with ether. These photographs are basically a journal of the time we spent in Siliguri. Its like a collection

ew snippets from January, a few from April, a few from May and so on

R: What are the implications of bringing a private intimate relationship unfolding in a private intimpace into a quarter as vigorously public as an art gallery?

RS: There is always a thin line between what you can show and what you cant and that decision ab

which is which is always yours. But while creating a visual narrative these choices need always be m

oth as an insider and an outsider. When I choose the photographs for a series I have to be both the a

nd the viewer. Its essential that I maintain my identity as a viewer because otherwise this can turn ineriously narcissistic project. I think creating a mood is essential for visual narrative and it is wh

ltimately capture through my works. I want those viewing my works to feel a connection with what t

ee, with my life as portrayed by my photographs. My photographs are for them; the viewer is alway

ctive participant in my works.

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PR: One of the works in this series is a nude shot of your partner. What are your thoughts on n

hotography and of nude female photography in particular?

RS: What can I say, I love women without clothes! There is a sense of exclusivity to a naked b

specially to a naked female body.

R: So you are saying photographing nude men is not your thing?

RS:Not exactly. I mean there are possibly men that I would like to share that sort of exclusivity wit

nd of course there is a difference in photographing a nude woman and the naked, sweat drenched che

working class man. But on the whole the female body appeals far more to me, visually.

PR: Do you feel anxious about how your works, especially such works which are quite evidently de

ersonal, will be received by the public?

RS: As long as I am clear about my work to myself, as long as I am satisfied, I do not care what people

ut I am telling you honestly that these works do not satisfy me. They are not complete or concrete in

way that I want them to be; they arent the photographs that Id intended to take. But they try.

R: What kind of photography would you say "inspires" you?

RS: I was absolutely blown away by Japanese photography, Keizo Kitajima, Nobuyoshi Araki. What

id in the 70s 80s, it was personal and honest. These photographers, Michael Ackerman, AntDAgata... what they did was move beyond the truth, beyond beauty. I have always been fascinated

xtreme behavior. I am enthralled by that moment, that point of no return, when you touch fear. When

re weary, bored, you start squeezing life out of even inanimate things around you.