Persephone Issue No.21

The image is an undeniable part of our lives today and will continue to be so in our foreseeable future. Since its invention in the 19th century, it has come a long way. With the advent of social media, especially Instagram and the easy access to quality cameras whether it be digital cameras or phones, everyone is busy capturing their lives. But due to its ubiquity, the artistic legitimacy of photography is often undermined and it is reduced to being perceived as merely a mechanical process unlike painting.

In this 1859 commentary on photography, Baudelaire critiques the public’s fascination with photography. “It is useless and tedious to represent what exists because nothing that exists satisfies me….I prefer the monsters of my fantasy to what is positively trivial.” Whether photography can be considered a serious form of art or not is an age old debate, yet it continues till this day. “Photography is not art. It is a technology. We have no excuse to ignore this obvious fact in the age of digital cameras, when the most beguiling high definition images and effects are available to millions. My iPad can take panoramic views that are gorgeous to look at. Does that make me an artist? No, it just makes my tablet one hell of a device.” — A comment made by journalist Jonathan Jones of The Guardian, in response to Peter Lik, the landscape photographer, selling his picture Phantom for 6.5 million dollars.

In 1890 he returned to the US and was determined to make people realise the potential of photography and that it was a dynamic medium and could be considered fine art. He was the editor of Camera Notes (publication of the Camera Club in New York) and in early 1902 introduced the Photo Secessionist organisation, which was dedicated to blurring the boundaries between photography and fine art. They called their style Pictorialist, which approached photography in a way that focussed on emotions, composition, interpretation, themes and tones and wasn't merely a documentation of reality by a scientific tool. And since then, globally, visionaries in the history of this medium have transcended its limits and have transformed it into a medium that is a powerful medium of visual storytelling and conceptual expression.

Just like artists apply techniques to communicate a certain emotion, photographers apply various techniques to enhance their visual communication, whether it be manually and technologically. Everyone has the same tools, the same paint brushes or the same editing software, but what makes a piece of art is the vision behind it. The role of the photographer as an artist cannot be overlooked today.

Art ultimately is not just about how it looks or is made but is also about what it evokes in us. And that always takes me back to the first time I saw The Struggling Girl, a photograph by Kevin Carter, which shows a young, frail and starving Sudanese girl trying to crawl towards the UN feeding centre and the menacing figure of a vulture just behind her, waiting for it's next meal. The photograph was jarring, the message universal and could also be surprisingly personal. It shook me to my core and had a profound effect on me and the way I looked at the world. The photograph sparked a huge debate about the ethics of a photographer. The photographer was “capturing” a hard reality of a particular context, but at the same time, the frame was an intentional choice and the visual commentary carefully composed and moulded by the photographer. It was the result of both a creation and a capture that has remained indelible in my mind.

Symmetry, a timeless principle of balance and harmony, has been a cornerstone of artistic and photographic composition for centuries. From the ancient Greeks to modern digital artists, symmetry has been employed to create works that are not only visually appealing but also emotionally resonant. It is a powerful tool for guiding the viewer’s eye, conveying meaning, and leaving a lasting impression.

Symmetry and balance are deeply intertwined concepts. In nature, life, and art, we are naturally drawn to elements that balance each other out. Symmetry provides a sense of equilibrium, making compositions feel calming. This is why symmetrical designs are often associated with beauty and harmony. The human brain finds it easier to process symmetrical shapes, and this cognitive ease translates into a perception of aesthetic pleasure.

During the Renaissance, artists like Leonardo da Vinci and Perugino heavily relied on symmetry to convey ideal proportions and the perfection of nature. Leonardo da Vinci’s Vitruvian Man exemplifies the ideal proportions of the human body, with its balanced upper and lower halves and mirrored left and right sides. In The Last Supper, da Vinci masterfully balanced every element of the composition to draw the viewer’s eye toward the central figure of Jesus. The perspective lines of the walls converge toward Him, and the figures on the left mirror those on the right, creating a focused composition, a sense of stability.

Similarly, Perugino’s Christ Giving the Keys of the Kingdom to St. Peter uses bilateral symmetry to evoke a sense of calm, stability, and formality. The symmetrical arrangement of the background architecture and arches reinforces the painting’s balance, making it both visually and emotionally satisfying.

Symmetry often carries symbolic weight, representing balance, moral order, and the natural world. In many cultures, symmetrical designs are used to convey spiritual and cosmic harmony. Mandalas in Hinduism and Buddhism are the primary influences, art forms built on principles of radial symmetry, serving as meditative tools that help practitioners find inner balance. In religious art, symmetry can symbolize the eternal and unchanging nature of spiritual truths. Gothic cathedrals, with their symmetrical towers and windows, direct the viewer’s attention toward the main altar or stained-glass windows, emphasizing their spiritual significance.

One of the most practical uses of symmetry in art and photography is its ability to guide the viewer’s eye. Symmetrical compositions create natural focal points, drawing attention to the center of the image or along its lines and curves. In photography, a symmetrical bridge leading to a distant horizon can guide the viewer’s gaze into the depth of the image, creating a sense of journey and exploration. In portraiture, symmetry can emphasize the central subject, ensuring it becomes the primary focus of the composition.

The Role of Asymmetry

While symmetry provides order and stability, asymmetry introduces movement and unpredictability. Artists often play with the tension between symmetry and asymmetry to create dynamic and emotionally complex works. For example, Salvador Dalí’s surrealist paintings often start with symmetrical compositions that are disrupted by unexpected elements, challenging the viewer’s sense of reality. This interplay between symmetry and asymmetry allows artists to tell richer stories and evoke a wider range of emotions.

Symmetry continues to play a vital role in modern and abstract art. Artists like M.C. Escher explored the boundaries of symmetry, using it to create mind-bending optical illusions. In contemporary photography, symmetry is often used in minimalist compositions, where clean lines and balanced forms evoke a sense of modernity and sophistication. One of the most striking examples of symmetry I came across was that of used in the popular and complex German sci-fi series Dark. The opening sequence, set to Apparat’s music Goodbye, shows effects of a mirrored kaleidoscope that probably symbolises the intricate narrative structure, multidimensional worlds and time travel sequences of the series. The exploration of symmetry of the physical world, the cave, the forests and other scenic spots, contrasts with the asymmetrical nature of the human heart and the relationships it forges with others. It’s a classic reminder of how in a world often governed by chaos, while we are constantly looking for symmetries to make sense of things, beauty can lie within asymmetries as well! We must never stop looking!

Is the “Emotionless” Art Truly Emotionless? A study of Minimalism in Art and Photography Imagine you are in an art gallery filled with bright colourful canvases lining up the walls, each carrying a story of its own, some disturbing and some pleasant. As you wind your way through the corridors of the gallery further, you enter a bright room with a single geometric block placed in the center. And you feel nothing. Curiosity might lead some of you to explore this block further; for others, this room might be dismissed as an empty spare one with no art to see whatsoever. Whichever may be the case, you must know that you have just encountered a piece from an impactful yet “outrageous” movement in the 1960s, called Minimalism. 

The 1960s, when consumerism was all the rage in the United States, some artists decided to go off the rails to create art with no inherent meaning and complexity. Characterised by its reductionist approach, back in the days, it was almost about to be named “idiot art” or “cool art”. Critics finally settled on “minimalist art”(derogatory) which wasn't very pleasing to the artists associated with the movement either. Despite being called “emotionless” and “cold”, it still managed to produce some very strong emotional reactions from the viewers. For instance, Robert Irwin’s “Dot Paintings” were spat upon, dirtied and destroyed within the first day of being exhibited at the Sao Paulo Biennale in 1965. The “Black Square” by the Russian artist Kazimir Malevich faced similar backlash and controversy in 1915.

But all said and done in the past. With the global spread of zen philosophy, hate for consumerism on the rise and a better understanding of design principles among the general public, some of us may have turned into an ideal audience to give minimalist art the recognition it deserves. Minimalist art promotes the idea of less being more and the emptiness that often lingers in the art form is required to be filled by the viewer’s imagination. The lack of personal expression in the art form directs the viewer's attention to the context and the space surrounding the piece, rather than the object itself. Thus, experiencing minimalist art can be highly meditative and grounding as its stillness begs us to be in the present without rushing ourselves into meaning-making. This is what Frank Stella probably meant when he said, “What you see is what you see” for his minimalist artworks. 

The Japanese have been a long-standing advocator of minimalism, way before this movement officially emerged in New York in the 1960s. The Pine Trees Screen painted by the Japanese artist, Hasegawa Tohaku, is a minimalist piece from late 16th century Japan that relies on the concept of “ma” to justify its inherent beauty. The Japanese philosophy of “ma” is the closest that can come to explaining the relevance of the emptiness that minimalist art has. “Ma” doesnt view emptiness as absence but rather it is an abundant presence needed to create meaning. In Tohaku’s piece for instance, the empty space around the trees promotes the viewers to imagine the landscape beyond the mist demanding active engagement with the art.

However, photography is where minimalism truly shines. Defined by the use of negative space, monochromatic hues, and a strong singular focal point, it immediately evokes a sense of calm through its familiarity to viewers. The juxtaposition of a tiny subject against a vast background often allows the viewer to see the subject from a larger perspective and contemplate their own existence. As haunting as it sounds, this experience can be strangely peaceful and empowering. Thus, the negative space, or emptiness, in minimalist photography plays a significant role in making the image more appealing to the viewer.

As an art form that was only thought to be limited to meaningless geometric shapes, minimalism hides a lot more if one is ready to engage with it. In modern times, more people are learning to find beauty in minimalism. Minimalist art can be seen as a form of absurdism, where the lack of traditional meaning challenges viewers to find beauty in the simplicity and absence within the work. Minimalism has been widely embraced across various fields, including architecture, media, fashion, and design. It offers peace and clarity for those of us overwhelmed by the constant 'too much' in our fast-paced, cluttered lives. In art and photography, it allows us to focus on what truly matters, allowing us to find meaning in simplicity.

My earliest recollection of when I truly noticed and appreciated the use and power of colour theory in media was probably my first time watching the movie Amelie. Growing up, I started feeling colours more when I encountered the likes of masterpieces such as In the Mood for Love by Wong Kar-wai (do you get the title now?) and Midsommer by Ari Aster. The deep reds and cosy, dim amber lighting in the first movie weren’t just aesthetic choices but rather emotions which were perfectly woven into the storytelling. Colours are not just decoration but a visual language, which tells us what to feel, even before we’ve figured out the why.

Similarly, in Midsommar, bright blues, yellows, and pastels adorn the screen, even though stereotypical horror movies are shot in dull, dark lighting. But don’t let the flowers fool you, because the uncanny colour scheme adds more to the feeling of eeriness throughout the movie.

At its core, colour theory is about the interaction between hues and how it influences perception. Warm tones like red and deep oranges exude energy, passion, and sometimes even danger, while blues and greens bring forth calmness and feelings of isolation and sadness. This isn’t just theoretical, it plays a major role in all media we consume. Van Gogh’s StarryNight- a palette dominated by blues and yellows, creates a hypnotic sense of longing and movement. The feelings that this painting evokes, probably wouldn’t have been the same had Vincent chosen pastels for his piece.

The same goes for filmmakers, photographers and cinematographers. Wes Anderson’s The Grand Budapest Hotel is instantly recognisable due to its use of dusty pinks and reds, a palette that adds to the movie’s nostalgic, dream-like vibe. Anderson’s use of colour in his cinematography is so iconic in contemporary times, that multiple trends have come out in the past few years, such as the “Living in a Wes Anderson Movie,” where the clips were edited in classic Anderson style, easily recognisable.

Meanwhile, Christopher Nolan’s The Dark Knight operates in stark contrasts. Deep shadows, dark blues and harsh yellow lights create a world that feels tense and unrelenting. These colour choices aren’t random; each one is specifically chosen to evoke certain emotions. Moving on, contrasts, in particular, is another powerful tool in visual storytelling. It dictates focus, adds drama and makes certain elements pop. In Steven Spielberg’s masterpiece Schindler’s List, the entire film is in black and white except for one small detail- the red coat of the little girl. This simple splash of colour is effective in dictating the audience’s eye, making the moment unforgettable. The same principle applies to photography. Steve McCurry’s Afghan Girl became one of the most famous portraits in history because of the electrifying contrast between her green eyes and the deep red of her headscarf.

Even outside the world of art and cinema, colour theory shapes our daily lives. Social media influencers meticulously curate their feeds with carefully chosen palettes- soft pastels for a dreamy aesthetic, and high-contrast neons for bold, edgy vibes. Brands use colour psychology to trigger subconscious reactions. The way we dress, and the interiors we design- all are deeply influenced by colour. In the end, colour is more than just an element of composition. It’s a storyteller in itself, a mood-setter that influences how we experience the world. The colours around us aren’t random. They’re speaking, and we just have to pay attention and listen.