2022 Image Equity Fellow: Neesh Chaudhary

Our central figure is shown in dual forms— her natural self and with bleached skin (calling out European beauty standards originating from colonialism in India). Subjectivity of beauty standards is questioned, asking viewers to note their own bias upon reflection.

The 'bleached' self sits upon a throne-like chair as our central figure stands behind her. The throne symbolizes power over our central figure and questions the origins of skin bleaching as a beauty standard from the period of British Imperialism in India.

Here our central figure falls prey to social pressure and insecurity with the introduction of a marriage proposal. A male figure, symbolizing the aspects of colorism seen in arranged marriages, is seen preferring the 'bleached' self while our central figure hides in plain sight.

Herons, representing self-determination, are seen in the background painting in poses similar to the figures in the foreground. Our central figure is directly faced with the 'bleached' version of herself she believes needs to exist in order for the male figure to accept her.

Here our central figure has fully departed from any connection to the 'lighter' self. She has fully understood that the color of her skin is beyond her responsibility, and is no longer subject to the subliminal social prejudice around her.

Here our central figure is walking away from the 'bleached' self that represents a physical manifestation of emotional anxiety in regards to her skin color. Her blurred appearance is a mirror of her wish to disappear from social pressures that ask her to change her appearance.

Inspired by Ferdinand Hodler's The Dream of the Shepherd (1896), this composition frames our central figure as highly vulnerable and powerless. In contrast to her bowed head and anxious expression, the figures in the background look down upon her with stern, judgmental stares.

The distance between our central figure and her physically manifested anxiety begins to grow as she powers over the subliminal prejudice she receives about her skin color. Her position in the extreme foreground asserts her path to reclaiming power against beauty standards.

The central figure takes a dominant stance on higher ground as she looks down on the 'bleached' self. She is rejecting the existentialist effect that obtaining a beauty standard has had on supporting her insecurities, and asserting herself fully.

Pranama, a traditional act of showing reverence for others, is seen here as the 'bleached' self bows towards our central figure. This scene takes a cultural tradition calling for respect of others and questions it in the context of a prejudiced cultural bias such as colorism.