FREE THE WORK
Photograph by Neesh Chaudhary
Neesh Chaudhary is one of 20 Fellows who were awarded the inaugural Image Equity Fellowship. Learn more here.
Face (2023) by Neesh ChaudharyFREE THE WORK
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.
Neesh Chaudhary’s series Diluted explores the physiological and emotional impact of colorism in Indian culture. “The color of your skin is still something that defines your place in society,” Chaudhary says. “But what’s so complex is that it’s something that’s also perpetrated by the victims themselves—it’s ingrained in society in a way that’s just become natural.”
Wings to Spare (2023) by Neesh ChaudharyFREE THE WORK
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.
In several staged scenes shot on film and then digitally stitched together, Chaudhary envisions the tensions within the interior landscape of her heroine, who has been split between her natural self and an idealized, European beauty-standard alternative.
There is No Greater Misfortune (2023) by Neesh ChaudharyFREE THE WORK
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.
Throughout her photographs, the power dynamics of these two “selves” is constantly shifting—in some moments, the heroine blissfully ignores her alternate, in others, she sits vulnerable while her other takes on a dominant role—pointing to the fluidity of these anxieties and self-perception, and that the ways one sees themselves is always changing.
The Heron and her Mirror (2023) by Neesh ChaudharyFREE THE WORK
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.
In the concluding photograph of the series, Pranama, Chaudhary plays on the traditional act of bowing at the feet as a form of respect and reverence. Her heroine’s alternate bows at her feet, reversing the roles of reverence in a moment of reclamation for her true self.
Le Sigh (2023) by Neesh ChaudharyFREE THE WORK
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.
As Chaudhary states, “It’s taking a strong cultural tradition and turning it on its head, asking: How can we have this tradition about respect for one another, while simultaneously having this cultural view that judges someone based on their skin tone, something they can’t control?”
Editorial statement by Aperture.
Love is a Solution (2023) by Neesh ChaudharyFREE THE WORK
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.
The Dream of the Heron (2023) by Neesh ChaudharyFREE THE WORK
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.
Gaze (2023) by Neesh ChaudharyFREE THE WORK
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 Corner (2023) by Neesh ChaudharyFREE THE WORK
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 (2023) by Neesh ChaudharyFREE THE WORK
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.
Neesh Chaudhary
Click below to see more work from this New York-based image maker:
Web: neesh.film/
IG: @losingmyego
Explore the other 2022 Image Equity Fellows’ final projects and learn more about the Fellowship here.
