This series gives a visual expression to an ideal in the context of a cultural paradox: our reverence for nature that we, nevertheless, exploit unceasingly.

I spend a lot of time in unspoilt places in Africa where animals have seemingly endless space to move with rhythm and grace. Here, they live in harmony, secure in their ancestral roots and habits. However, with the inexorable human expansion, the transformation of these pristine landscapes appears relentless. Yet, paradoxically, all cultures appear to revere such wildernesses. 

In the hope that it prompts us to start thinking about this cultural contradiction, I have attempted to create a visual form for our reverence. I imagine a landscape invisible to the human eye but not to the camera where time is forever suspended in a dreamlike way and where wild animals live in tranquillity, being themselves. And so, to start a conversation, I invite you to tiptoe – accompanied by kids if you like - with the animals in their ethereal space, feel a lyrical moment, contemplate wonder,and participate in a heavenly experience.

Prints of this series are made on Hahnemuhle German Etching textured 310 GSM photographic paper. The resulting print looks more like a poetic, moody drawing, less like a photograph.


This series is the one less travelled – it is not about what is human nature; rather it is about the consequences of the way we are. And responsibility in that as we extend control on this planet, the separation between us and them widens, and they become ghosts.

I journeyed, stood at the concreted wild, and could still see them sail by:

They were a thousand winds that blow

They were the diamond glints that glow

They were the sunlight on the ripened grain

They were the gentle seasonal rain

Do not stand and cry

They were there, their memories will not die

(After an anonymous poem dedicated to a soldier killed in action)



Watching elephant groups in Amboseli National Park in Kenya, I got fascinated by their cohesion and co-operation. It reminded me of a quote attributed to Henri Poincare, the polymath: it is the harmony of the diverse parts, their symmetry, their happy balance: in a word, it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the detail.

So, using black shapes against white landscape to accentuate natural choreography, I set out to conjure up photographs that might prompt the viewer to reflect on the natural notions of unity and harmony.

Prints of this series are made on Hahnemuhle German Etching textured 310 GSM photographic paper. The resulting print looks more like a poetic, moody drawing, less like a photograph.


I live in the wild for long stretches of time. Inevitably, I fall under the spell of wild animals. It dawns on me that these are intelligent, emotional, social and personable beings. I connect with their sentience.

To communicate this, I opted for a work of portraiture. Fortunately, for my purposes, wild animals care nothing about keeping up appearances. So, I waited and waited to capture a natural expression or a revealing gesture rendered in an instant. Something spontaneous. For this is where, I think, the truth of a mind lies.


A few years ago, on the open plains of Maasai Mara, I was in the midst of elephants and within touching distance of a couple of them. I felt a primeval sense of being, a connection to a distant past. I wondered if I could translate that feeling into photographs.

I opted for an approach that is immediate, intimate, immersive, inclusive and involving but which also gives a feeling of space. I wanted to impart to the viewer what it feels like – mentally and physically – to be inside the vast and lively landscape of Maasai Mara, being among wild animals. In this way, I hope the viewer can open up to Mara and its animals – feel the earth, smell the wind, and touch the elephant’s wrinkled skin. Then, perhaps, the viewer might connect with The Mara and extend sympathy to this natural world.