바카라I바카라ll Be Looking At The Moon But I바카라ll Be Seeing You was initiated by me (Hari Katragadda) on the expressions and registers of love through a protagonist, my partner Shweta. Her memories intersect and alter the sanctity of linear time, transforming their relationship through both lived and imagined experiences.
The initial impetus was the opening scene of Jean Luc-Godard바카라s Le Mépris (1963) in which Brigitte Bardot runs a roster of each of her body parts for Michel Piccoli, who plays her husband. 바카라Do you see my feet in the mirror? Think they바카라re pretty?바카라 바카라Very.바카라 바카라You like my ankles? And my knees, too?바카라 바카라I really like your knees.바카라 바카라And my thighs?바카라 바카라Your thighs, too.바카라 When every part of her body is done, she concludes, 바카라then you love me totally.바카라 To which Piccoli replies, 바카라I love you totally, tenderly, tragically.바카라 So the pictures of body parts in our book are a direct homage to this scene, but we also wanted to enquire about the nature of love and to extend from this love of body parts.
There is a genre of poetry in Tamil Sangam Literature called the Tinai poetry in which the Tamil land was divided into five physiological divisions including marutam, neytal and kurinji. Each division was associated with a particular occupation, landscape and an aspect of love. This concept is exciting because it connects love to landscapes, which is something that we also explore in the book.
The idea to inscribe the self within an already existing text came from The English Patient by Michael Ondaatje in which the character of Almasy sticks geographical maps, notes about different kinds of wind storms, as well as confessions of his impossible, illicit love for Katherine in Herodotus바카라 Histories. There are also influences from the gothic short stories by Naiyer Masud in which characters often went to sleep and you could not differentiate between the real and dream worlds. Also his short stories did not have plots, but ghosts of plots and communicated meaning through the 바카라theatre of sensation바카라a direct appeal to the body바카라.
Shweta was a reluctant and difficult subject바카라she hated to be photographed and even without seeing the final photograph she used to be convinced that it was a bad picture or not a correct representation of herself. She thought that the images did not reflect the inner landscapes바카라the world of imagination, experience of love and pining stored within a body바카라and she wanted them to leak out on the surface of the images. Rather than external interventions these smears, stains suggest that the bodies and objects and spaces have secreted them through their skins that ultimately threaten to devour them. Like the moon that indexes both absence and presence, wholeness and emptiness바카라the book바카라s central character is a haunting figure on the verge of disappearance and subsequent reappearance.
(Views expressed are personal)
Hari Katragadda is a visual artist whose work explores communities, environment and personal memories using photography, text and drawings
Shweta Upadhyay is an arts journalist based in Mumbai
(This article appeared in Outlook바카라s Valentine바카라s Day 2025 special issue on love and loneliness in the era of technology. It was published in print as 'Half Moon')
