The fragility of our ecosystem serves as a poignant reminder of the delicate balance that sustains life. Nature, in its boundless complexity, dances between order and chaos, a harmony teetering on the edge of entropy.
This intricate interplay occurs irrespective of human awareness or perception, operating on scales both grand and minute. In this silent, unyielding process, the universe unfolds—resilient yet vulnerable, transient yet infinite.
The Hibiscules series emerges from this understanding. Manas Arvind works with dried hibiscus flowers into vivid visual metaphors, accompanied by introspective poetry. Each piece captures the intricacies of the flower’s transformation, a celebration of forms and colours that transcend the limitations of the human gaze. Through his lens, Manas invites us to reflect on the impermanence that defines existence and the fragile balance we often overlook. These forms mirror the Manas’ contemplation of the human experience amid external chaos and internal turbulence.
In an era where climate crisis looms, the hibiscus—a classical symbol of beauty, ephemerality, and tropical life—becomes a metaphor for life’s vulnerabilities. As the petals dry, they curl and twist, resembling landscapes ravaged by environmental forces. Yet, in their decay, the flowers still hold form, speaking to resilience and survival in the face of ongoing devastation. The photographs observe this duality: the tension between the fragility of nature and the persistence of life.
Simultaneously, the dried hibiscus flowers reflect an inner landscape, where loneliness and hope coexist in tenuous harmony. The pollen, hanging on a fragile stigma, becomes a metaphoric symbol of hope—barely clinging to life, yet present. The abstract shapes evoke the artist’s journey through emotional isolation, where each flower poses a question about the possibility of renewal in a world that seems to be disintegrating.
With Hibiscules, the Manas invites viewers to meditate on their inner struggles and confront the fragility of our natural world. Through each photograph and verse, the hibiscus transcends its physical form, offering a vision of resilience—an elusive quality as delicate as a flower, yet enduring against the chaos that surrounds us.
What I see is what I can’t see
What I read is what I can’t read
What I chew is what I can’t chew
What I say is what I can’t say
What I write is what I can’t write
What I remember is what I can’t remember
What I suppress is what I can’t suppress
What I eat is what I can’t eat
What I sleep on is what I can’t sleep on
What I step for is what I can’t step for
About Manas Arvind
Manas Arvind’s journey into photography began at 13 when his elder brother handed him a Zenit TTL with a 50mm prime. From that moment, the camera became an inseparable extension of his being. Films and processing were expensive, but his passion drove him to innovate—learning to mix primary chemicals and print in makeshift darkrooms. The boy even disassembled and reconfigured the 50mm lens into a macro setup, unlocking a world of intricate details hidden in mundane corners. At age 16, his work was recognised nationally, earning him a place in the National Exhibition of Photographs by AIFACS—one of India’s most esteemed art organisations. The following year, his portfolio was selected again, and at 18, he was featured in the National Lalit Kala Akademi show, standing alongside the country’s most celebrated lens artists. Over this decade, Manas received numerous awards, participated in group exhibitions, and held three solo shows. He pursued literature and photography during college and later built a career in communication design.
For Manas, photography is more than an art; it is a medium for profound interaction with life. Drawn to the narratives and forms concealed in the ordinary, he rejects the “trained mind” in favour of exploring “unconditioned spaces.” His work invites viewers into this journey, offering a platform for personal introspection and discovery. By 23, Manas began to distance himself from public exhibitions and competitions, embracing a more intimate and introspective approach to photography. This shift allowed him the freedom to experiment and evolve without the constraints of external validation. His travels across India provide the backdrop for his ongoing documentation of life in its raw, unfiltered essence. Since 2013, Manas has been practising permaculture design, regenerative farming, and the creation of resilient local food systems. His grassroots work intersects with critical issues such as climate, social, political, gender, and economic justice. Beyond these efforts, he engages in reimagining development and education, perspectives that profoundly inform his photographic and literary expression. Manas is particularly interested in using photography as a bridge to reveal the nuanced challenges and wonders he encounters while working with diverse communities and cultures. His work seeks to foster connections and inspire dialogue, weaving together stories that celebrate the interconnectedness of life.
