– Upasana Bhattacharya

“Through my lens, I aim to tell the stories of India’s diverse traditions, capturing the essence of a bygone era that still lives within our communities.”

– Upasana Bhattacharya

There lies a thrilling, entrancing quality of nostalgia in Sanjay Das’s glorious compendium of signature black-and-whites. In The Red Hibiscus Trail, his upcoming exhibition at the LTC Gallery in Bikaner House organised by Gallery Ragini and curated by the renowned Ina Puri, he is set to share with us some of his selected artworks, letting us into much of West Bengal’s heritage, culture, people, architecture, fairs, festivals, rituals, and folk arts; many of which today have got consigned to oblivion, and are perhaps eventually going to die an inconspicuous death.

It has been over a decade since Das has been invested in his ardent exploration of the many nooks of Bengal, a love affair that began with his visit to Kolkata in 2011. It must have been an exceptional experience drifting unpremeditatedly with the buzzing streets and bazaars, taking in the resplendent old mansions, street foods, and leisurely tram rides; camera in hand, stardust in his eyes. Fast forward to now, and Sanjay Das’s portfolio is a gleaming goldmine of invaluable captures of the majestic West Bengal, all the way from Sandakphu to the Sundarbans, working intensively in and around the areas of Purulia, Murshidabad, Bishnupur, Medinipur, Birbhum, Howrah, Hooghly, and 24 Parganas.

“In the hustle and bustle of modern life, it’s easy to overlook the gems of our culture. Photography lets me reveal the hidden treasures, making sure they are remembered for generations to come.”

– Sanjay Das

The Red Hibiscus Trail weaves some of these glorious moments of Das’s interactions with the landscapes and people of rural Bengal, acquainting us with the simple and adroit lives of the many mask makers, weavers, conch shell craftsmen, Pata Chitra artists, idol makers, Chhau performers, and Gajon singers. The trust he earns of the locals, and the richness of the relationships he forms on the way are palpable in his frames, in their nature of warmth, affinity, and perceptible drop of constraint. The artist shares, “I have always enjoyed living with the locals in their huts, singing and dancing with them in the evening, and sharing their meals at night.” The exhibition will feature some massive panoramic images, about eleven feet high, bringing the audience nearer to the experience Das may have had while experiencing the subjects up close.

As a prabashi Bengali from Delhi, his fondness for his roots was strengthened by the dynamic cultural ambience he grew up in. “We were a joint family of eight, and I remember our house being this perpetual stir of social activities,” he recalls. During the Durga Pujas back in the seventies, Das’s family home often hosted very prominent Bengali celebrities like Hemanta Kumar, Purnadas Baul, and Manna Dey before they performed in their colony pandal. His maternal uncles were the founding members of Sreemoti Opera, one of Delhi’s first jatra (folk theatre) groups. In retrospect, these may have been the little things that helped shape his senses as an artist, something he later studied formally at the College of Art, New Delhi.

Sanjay Das’s Bengal oeuvre, many of the ones that will find display in The Red Hibiscus Trail, may also be viewed as potential ethnographic time capsules, for as much as we hope not, a lot of these cultural elements may one day cease to exist in the years to come. That is when these archives may help retain the memories of those who may never actually tangibly go back to these lost facets again, and aid in presenting images for the generations to come who may perhaps never experience them in person.