1.What initially drew you to explore alternative photography processes, and what specifically sparked the ​‘Soft-Earth’ project?

I was captivated by the resurgence of alternative photography processes, particularly in France where I was studying photography. The Soft-Earth project was ignited by my desire to breathe new life into my older photos, a unique perspective amidst the social media frenzy urging constant content production. I sought to view my images differently, offering them a fresh perspective and a novel existence through this project, which incorporates real living organisms.

2. How is ​‘Soft-Earth’ different from your other art projects?

While I’ve delved into alternative processes in the past, exploring intersections between science and art, it was the first time I utilised living organisms for a project. In a way, it felt more like a collaboration with these living organisms. Unlike previous ventures, this art is food-grade and delves into the dynamic and unpredictable nature of living art.

Moreover, this project has instilled a newfound sense of patience in me. In contrast to most photo projects with instant results, the ​‘Soft-Earth’ project requires a waiting period of almost 2 – 3 days for outcomes. The element of unpredictability adds a unique dimension; success is not guaranteed, but errors are. However, the errors are intriguing in their own right, even if they don’t find a place in the final project.

3. Can you elaborate on the technical aspects of this process? How do you control UV light exposure and choose which photographs or stencils to use?

The technique was originally shared by Bioart Club pavillon_​35 in Vienna, Austria, during a workshop organised by the Finnish Bioart Society. Their website offers various recipes to try out. The fundamental theory is straightforward: a foundation of yeast arranged on a medium, forms the basis of the image. UV light exposure, which can take up to three days, selectively eradicates the yeast, leaving behind an imprint. This leads to the formation of a monochrome image that gradually fades as the yeast, along with any fungi, consume the medium and thrive on the living canvas. It’s important to highlight that I conduct the project in my home. This is in contrast to the recipes provided by the club mentioned earlier and I recognise that the environment in my home is not completely sterile.

In terms of selecting photographs or stencils, I often use my old photos and experiment with various stencils made from materials like tape, occasionally incorporating illustrations. 

Although I’ve tried other subjects, certain subjects like faces seem to work better than others, as they are more easily identifiable to the human eye. The process involves a degree of trial and error, with some images turning out better than others in the end. It’s a dynamic and experimental approach that adds an element of unpredictability to the final outcomes.

4. How does the living aspect of yeast influence your creative process and the final artwork? 

The living aspect of yeast significantly influences both my creative process and the final artwork. It adds a captivating dimension as the canvas is in a constant state of evolution. Even as the creator, I remain continually fascinated by its dynamic nature.

However, while the unpredictability is intriguing, it comes with a drawback of slowing down the project. This unique characteristic has compelled me to approach this particular project differently compared to others; it requires a more deliberate and patient pace.

5. Have you experienced any unexpected challenges or surprising outcomes while working with fungi? 

Certainly, working with fungi in this project has presented unexpected challenges and surprising outcomes. The trial-and-error nature of the project has led to a variety of experiences.

In the early stages of the project, I encountered some mold growing in the dish. Unaware of what I was seeing, I made the mistake of inspecting it closely without wearing protective gear, which may have resulted in me falling sick. Learning from this incident, I now prioritise ample protective gear, taking the precautions seriously.

On another occasion, I discovered larvae in my petri dishes. Surprisingly, as they moved through the yeast mixture, they left behind tracks that I found beautiful. These unexpected occurrences add both challenges and unexpected beauty to the creative process.

6. What message or emotion do you hope viewers take away from your ​‘Soft-Earth’ project? 

In every breath we take, unseen spores surround us — ubiquitous, both beneficial and potentially harmful. The project employs fungi as an ancient technology, drawing parallels between their role in the ecosystem and the interconnected systems of our planet. Ultimately, I hope the Soft-Earth project prompts a shift in how people view and appreciate the often underestimated but crucial world of fungi and microorganisms.

Through the Soft-Earth project, my aim is for viewers to perceive fungi and microorganisms in a new light, challenging the common perception of them as small or insignificant. Often underestimated due to their size, we tend to overlook their inherent power and beauty.

7. How do you see the ​‘Soft-Earth’project contributing to the larger conversation between humans and the microbial world?

By portraying microorganisms in a different light, challenging the perception of them as small or insignificant, the project aims to reshape how people view this unseen world. Ultimately, it adds depth to the ongoing conversation about the intricate relationships between humans and the microbial realm, emphasising the significance of these often-underestimated organisms in the larger interconnected web of life.

8. What are your thoughts on the intersection of science and art? Can the two disciplines inform and inspire each other? 

Both realms share interconnected elements, and there is always an inherent scientific aspect in art and vice versa.. Artists like Leonardo da Vinci, M.C. Escher, Paul Klee, and others exemplify this synergy, incorporating scientific principles into their creative works. 

Similarly, scientific breakthroughs can also be considered works of art; for instance, the revelation of the double helix structure of DNA by James Watson, Francis Crick, and Rosalind Franklin in 1953 is often seen as a masterpiece of scientific art. The intersection of these disciplines opens avenues for innovative thinking and a holistic approach to understanding and addressing complex challenges.

9. What is your perspective on the current landscape of science-art in India based on your experience with you soft-earth project? 

I’ve come across some intriguing initiatives in the science art landscape in India, most recently the Critical Zones exhibition by the Goethe Institute. While these efforts are noteworthy, I hope to witness them occurring more frequently and expanding in number. Additionally, I look forward to the emergence of more dedicated communities focused on the intersection of science and art in India. As an artist with a limited scientific background, I also anticipate increased collaboration between artists and individuals actively involved in scientific fields.

10. What advice would you give aspiring artists exploring unconventional approaches to bridge art and science? 

For aspiring artists seeking to explore unconventional approaches at the intersection of art and science, I suggest considering two perspectives. Firstly, amidst the exploration of futuristic technologies, there is great potential in reconnecting with traditional methods. In an era heavily reliant on technology, the juxtaposition of modern and traditional approaches can yield intriguing and thought-provoking outcomes.

Secondly, a crucial aspect is the cultivation of keen observational skills. As humans, we often erect barriers between our spaces and the natural world, distancing ourselves from its elements. By embracing both the modern and the observational, aspiring artists can navigate unconventional paths that seamlessly bridge the realms of art and science, fostering innovative and impactful creation.