"I can understand now the reluctance on her part for her work to be taken in the context of ‘Indian photography’ and I hope the younger generations of photographers also find in themselves a similar reluctance. Such categories can sometimes become a justification for bad work. While it’s always interesting to look at work in the context of the photographer’s geographical and cultural background, it should be able to stand strong amongst photography from anywhere else. Unlike music, where the instruments can be unique to particular countries, photography’s tool — the camera — is universally the same. We just express a difference in visual language and sensibility. Dayanita’s work has transcended all such categorisation, and in the end it doesn’t really matter where the work comes from — all that matters is that it comes from her. While photographers in India chase after something called ‘contemporary photography’, her’s remains one of the last few honest bodies of work unconscious of any category it’s supposed to fit into..."
Text by Sohrab Hura | Tehelka Magazine