Field Notes on Seeing started as a series of images that stayed in a digital camera before they found a larger footing in a zine. The exercise of pointing-and-shooting was initially meant to serve as an exercise for Soham’s students whilst he struggled with what he calls a ‘photographer’s block’ in his own practice. Gradually, these images felt to him like they could translate into a body of work. 

As photographs travelled from Bangalore to Pune, with Soham, they also found their way to London, where Gurnoor’s  work inspired much of the curation of both image and text. Gurnoor attributed to these images a sort of ‘automatism’, a practice wherein you operate from reflex rather than careful pondering before making a piece of work. Curating images into a zine involved ricocheting between his own practice which included works like - 'The State of Self’, another source where one can see this ‘automatism’ at play. The initial few drafts of zine had elements of little to no text. The only text that was included was Soham’s ‘notes’ which were singular words describing the emotional landscape of the zine.

The creative dialogue shifted dramatically when Soham shared a rough draft of the zine with Srushti following their previous collaboration on other projects that utilised image and text pieces.

Initially, Field Notes on Seeing was centred around the previously decided format as a pocket-sized zine. However, Srushti’s perspective prompted a fresh direction for the work. Srushti’s practice introduced a dream-like, surreal transition where words seamlessly morph into deeply contained feelings. Their writing fluidly bridges the space between peripheral observations and a deeply personal internal dialogue.

This approach perfectly mirrored the visual flow the publication required for a cohesive shared narrative between Soham, Srushti and Gurnoor.

The idea of an image stems from detaching a scene from its point of origin and alienating it from time. The series Field Notes on Seeing marks a departure from this notion. It seeks to attach the images to the same emotional plane and time frame in which they were taken. 

Seeing is understood as a more nuanced and skilful technique to bring a specific understanding of a seemingly common landscape/scene. It carries more depth and is an entryway to how the subject is placed and perceived by the image taker. The 'field' lends to this abruptness and urgency, which skips the usual understanding of intent. ‘Field’ marks a space for contemplation as routine wraps around emotions. It is a liminal space where these 'notes' are rationalisations of the sentimental. It is also a play on temporality where the present is the field, as a continuous event, and the future is marked by the potential of seeing.

Field Notes on Seeing is a divergence from a stationary understanding of seeing and seeks to combine tactile mediums to produce a unique relationship between spectator and viewer. 

Photographs by Soham Joshi

Text by Srushti Sharma

Curated by Gurnoor Singh

The exhibition was on at the Dilip Piramal Art Gallery, NCPA, Mumbai from 8 october to 18 october 2026.

Below:

Field Notes on Seeing, 2026

Photography and Text, along with found objects

Exhibition View, Dilip Piramal Art Gallery, NCPA, Mumbai, India

(Photographs of the exhibition view by Soham Joshi)