Repository of Information and the Medium of Memory
Above are main ingredients
If possible you can add
5 curry leaves
1 spoon Tamarind Paste
Heat 2 Heafty Tablespoons of Ghee/Oil of Anychoice exept Olive Oil and Coconut Oil - Preferably Canola, Sunflower or Vegetable oil. Let it get really hot, and then fry Curry leaves, garlic and dried red chilly for 3 minutes. Stir, and keep children away from the vicinity, as the ingredients may splutter far!!
In the same hot passionate concoction, fry the tomatoes, stir occasionally. 2 minutes
The oil starts becoming unmanageable. At this point, add onions and let them soak the oil. Here is a good time to add salt, be generous. As this is the base of your dish, and it must be full bodied when infusing the rest of the items to complete a satisfying taste.
Mix the onions well in the oil for the last 2 minutes on high heat. This helps the oil to completely infuse and integrate into the taste we are looking for. Little divine elements of every ingredient is now forming, the heat of the chillies, the sourness of the tomatoes, the pungent flavour of the garlic and the peace and sweetness of the onions are a very important journey on the high heat road of transference.
Mix one last time.
This week 9 curry pastes were made in 3 variations. Hot, Medium and Soft for the varying in Spiciness.
Lord Shiva annihilating Skanda, the messenger of love.
The Moon has 16 kalas, or phases. Out of these 15 are visible to us and the 16th is beyond our visibility. The 16 kalas are: 1.Amrita, 2.Manada, 3.Poosha, 4.Tusthi, 5.Pusthi, 6.Rati, 7.Dhruti, 8.Sasichini, 9.Chandrika, 10.Kanta, 11.Jyostna, 12.Shree, 13.Preeti, 14.Angada, 15.Poorna and 16.Poornamruta.
These 16 kalas are ruled by the 16 Nitya Devis. They are called Shodasa Nityas. They are: 1.Maha Tripura Sundari, 2.Kameswari, 3.Bhagamalini, 4.Nityaklinna, 5.Bherunda, 6.Vanhivasini, 7.Maha Vajreswari, 8.Shivadooti (Roudri), 9.Twarita, 10.Kulasundari, 11.Nitya, 12.Neelapataka, 13.Vijaya, 14.Sarvamangala, 15.Jwalamalini and 16.Chidroopa (Chitra). Out of these, the first one, Maha Tripura Sundari is the Devi Para Shakti herself, and hence the kala ruled by her is not visible to the normal mortals. Hence we see only the other 15 kalas or phases ruled by the other Nityas. In the Sri Chakra these 15 nityas are present in the innermost circle, and the Devi is in the central Bindu.
Raglan, Waikato, New Zealand
For Sale 4 Portions of Kala Masala | Daughter's of Solstice Paste
@ 8 NZD per bottle
Shashthi or Shashti (Sanskrit: षष्ठी, Ṣaṣṭhī, literally "sixth") is also a Hindu folk goddess, venerated as the benefactor and protector of children. She is also the deity of vegetation and reproduction and is believed to bestow children and assist during childbirth. She is often pictured as a motherly figure, riding a cat and nursing one or more infants. The worship of Shashthi is proscribed to occur on the sixth day of each lunar month of the Hindu calendar
The image-maker engages so many permutations and combinations to finally end up with one outstanding frame - the ‘money shot’, like I did to make UB 1228, UB 1486 and UB 1853. I am unable to share/exhibit these by law because I have signed off my rights to those images (for a minuscule sum), but what remains in my possession is the journey taken to attain those winning money-fetching shots. The many parts of a un-viewable whole.
In this exposé of process and position, the colors highlight the subject in motion within the frame as well as the relative perspective of the frame in motion.
Exposéfy – Not_UB_1228, 1486 & 1853 is a documentation of quotidian activities that the modern woman is continually becoming unaccustomed to in changing India. This installation of consecutive frames is a memory game of continuity in content as well as form.
We need as much support as possible!
Bob Marley chillin over photographers at the exhibition of Who's Positive? at
is a project initiated by Wake Up Pune and funded by Ruby Hall Clinic, in collaboration with Sahara Aalhad and artist Shraddha Borawake. The participants of the workshop were a mixture of people living with HIV/AIDS as well as their care-workers and other volunteers.
Poster design by Waylon D'Mello
On the first of the 2 daylong sessions, the participants were asked to photograph their fears. These images were put into outlines of 2 bodies.
Like, fear of snakes...
Or the image of finding your dead brothers body in a train accident many years ago imprinted in your mind!!!
On day 2 the same was done with images of hope. There were many volunteers who helped all the participants realise an image of a phrase in their mind.
"Id like to hold my future in my own hands, where I have adopted my own children, work hard and have a family."
"Be free and happy all the time!"
As a result 2 pieces were formulated depicting the difference between a body full of fear and one full of hope.
Wake Up Pune is an NGO dedicated to spreading awareness about HIV/AIDS.
Pictoral body maps are a way through which one is able to depict their latent emotions. Oftentimes emotions that lurk beneath the surface prevent people from confronting their fears and aspirations. This exercise offered them a roadmap to express the tension they either consciously or sub-consciously hold on to.
Sahara Aalhad is a centre for rehabilitation and HIV/AIDS care.
HIV and other life long sexually transmitted disease victims are extremely painful to observe. To be around an idea and concept that it is just one moment, that can turn your life around, it is just one infected needle that can put you in a life full of terminal challenges, it is just one bad decision or lonely night that can make you a victim or perpetrator of contracting or passing on an infection. Being around that kind of impending doom, is only for strong people. And I was eternally impressed by those folk- the care-workers, who work with the infected lot, shunned by society, malnourished, abandoned and ailing individuals, who have a life long path of struggle for their health, physical as well as mental. Therefore, this workshop attempted to divide the two. A positive and negative mind, and the difference between a body full of fear and a body full of hope.
Love yourself, and dont let you body take the brunt EVER of any deep and dark mental wanderings, because, all you have is this body. Once ruined, you cannot turn back time.
When I was commissioned to shoot the executive calender for KSB Pumps, the brief given were an array of words. These words tried to encompass through vast meaning of the essentials of life : Roti, Kapada, Makaan: Food, Clothes and Home:
2) nursing mother
5) origin - womb
6) mother of plants
7) interdependency between humans
21) source of all things
22) upholder – sustainer
23) steady one
26) all preserving
27) all protecting
28) treasure trove
30) mood depiction - lack (instead of barren soil)
31) mood depiction- void (instead of barren soil)
32) fade in
33) fade out
38) negative space
55) illusion – its all a dream.
As all collaborative ventures with Revati Dilip Borawake, my cousin, a designer, actor, artist and producer, our project themes always revolve around the essence of the Indian female mind, expressed through the visual and textual medium.
It is not the female mind that we are trying to express, but always, it is the female perspective that all things material are put through deconstruction in our collective work.
As well, on the other hand, we chose the locations of our estranged ancestors, their forgotten culture, as mediums, as subjects. A sense of homage, sadness and lack of belonging to this heritage being the key intention of exploring them through our art.
When we started this project, we left for Rahata, the birthplace of both our fathers, and the childhood home of the Borawake family, when they were together, and happy. A place which flourished like the fertile soil of love between siblings and housed the great workings of Rao Bahadur Narayanrao Borawake, our grandfather.
Keeping the words in mind, this time there was very little talk or direction, expectation or even agenda. We would visit there after the Sai Baba temple at 3 in the morning for prayers, which was previously run by our family and community, now in the hands of some greedy Sindhis. Who have converted Shirdi into the new Disneyland of Religious Tourism. Thereafter, head to a random village nearby and shoot the awakening, as dawn is a very important part of the day, atleast for this project it was.
Above: We found a mindblowing idol of Natraja, coming down from the sky, crushing the child-the ego, ever so gently.
The shoot was chill, as the vibe was mellow. We were trying to keep it that way, because, we both were very exhausted by life a little, the world a little, and all matters in between that and the loss of our little 20 year old brother. All we were trying to do, is encompass some deep feelings flowing through us, we also had Smruti Swaroop Puhan, as an assistant, buffer, referee and bodygaurd the whole time.
I even remember exclaiming to her, that this was too easy, there was something about doing this assignment that was very peaceful, and seamless..."where is the storm?" I asked. As usual, as per our great creative connection we would let the project drive the end result. Because, we are farmers after all. We till the soil, sow the seeds, but definitely do not disturb; the outcome to be what it will be.
In this organic act, which was commercial, but not to us. We had a collection of 50 beautiful images. Many of our grandfathers surroundings, our fathers childhood reminiscence, some signifiers of our own lives and mostly records of the beautiful culture that we have inherited. From the perspective of the Indian female, struggling with concepts of modernity.
We decided to convert them all to stark black and white images, but leave yellow and red that was nacent in all the images.
The idea of Abhishek in hindu rituals is a form of bestowing utmost respect on material or physical entities. One of these methods involves putting a sprinkle haldi-turmeric and kumkum-red powder. When one puts this onto a stone, or the forhead of an individual or the feet of a dead body or onto some machinery. It is a way of expressing deepest gratitute and respect towards the material being encountered.
This form of respect was something we were trying to adress throughout the series. As well as applaud our culture for putting faith in something as simple as a rock in worship. As all material is considered a part of the whole. A part of the Mother. We must respect her in her totality as well as in her humble fragments.