Two Views of Bhutanese Beauty Although Different, Exhibits Show Spirituality, Tradition of Diverse Region by Vanessa LaFaso At first glance, the difference between the artists’ works seems obvious. Rajesh Nair’s photographs are almost devoid of human subjects, while people are the main focus of Stuart Brafman’s pictures. Nonetheless, both photographers give us a glimpse of Bhutan, a land virtually untouched by the outside world, in a dual photography exhibition on display at the Kathleen Ewing Gallery in Washington. Mystics and scholars alike travel to Bhutan to experience the spiritual and cultural legacy that has existed there for centuries. The pristine, bio-ethically diverse region is testimony to how the Bhutanese people live in harmony with nature. The region teems with exotic wildlife and electricity has only been introduced recently in some areas. The geographically isolated territory is safeguarded with the aid of a controlled tourism policy. Only 9,000 tourists on average visit each year, and even then, Bhutan only opens the doors of a few select regions. It is fortunate, therefore, that Brafman and Nair captured aspects of Bhutanese culture and brought them back to share with those who may never have the opportunity to witness this land for themselves. Both exhibits demonstrate the deep spirituality and traditional longevity that permeate every aspect of Bhutanese life. Brafman’s exhibit, “Journey to a Magical Kingdom,” contains portraits of the Bhutanese people, rich with texture and luminescence. Viewers can almost feel the sun that beats down on an elderly woman carrying a bundle five times her own size on her back. We taste the same water as the teenager who just finished drinking from a spigot. We dance with the performer at the traditional Tsechu festival, and we can almost hear the prayer wheels spinning in the hands of the children Brafman portrays. Viewers are invited to journey with the Bhutanese people just as Brafman did. The collection of 21 photographs is a stroll through village life. From market vending to prayer, from celebration to reflection, Brafman exquisitely captures the simple, peaceful day-to-day existence of the Bhutanese people. In each of his pieces, Brafman’s subjects are splayed with sunlight, evoking a truly magical sensibility. The absence of color in his black-and-white portraits prevents us from being distracted by small details, just as we imagine the Bhutanese people are not. We are invited to appreciate the simple garb, the habitude of spirituality, and the laborious toiling over the fields—just some of the traditions that have helped Bhutan thrive in unaffected existence for so many thousands of years. Nair, on the other hand, celebrates Bhutan’s fortitude with depictions of its majestic architecture in “Timeless Existence.” A monastery cut into a mountainside, 400-year-old palaces, and village dwellings are all exhibited in sepia tones. The neutral hue reinforces the timelessness Nair strives to achieve, and the effect allows viewers to speculate about the chronology of the photos. “I think that these pictures will still be relevant in time,” said Nair. The choice of perspective is perhaps the most intriguing aspect of Nair’s work. Although a majority of his photos do not contain human subjects, there are some that do. However, Nair chooses to keep the people either in the distant background or offset from the structures he is photographing. This way, viewers gain a sense of just how monumental the architecture is, as the individual appears almost negligible in comparison. One might interpret Nair’s choice as a statement of timelessness unto itself, since the same architecture remains century after century, while each generation sees the arrival and departure of its citizens. However, a few words with Nair will quickly dismiss this idea. “People intimidate me,” Nair confessed. Interestingly, the only instance in which the architecture is secondary in Nair’s work is when it appears juxtaposed with some aspect of Bhutan’s natural environment. For example, “Thimphu Dzong”—the region’s government and monastic building—is set in the background, almost masked by a foreground of flowers. In addition, “Laya Village” appears to be swallowed by the encompassing mountains looming over it. Nair seems to suggest that the beauty of architecture is congruous with the beauty of nature. One will also notice the thematic inclusion of wheat fields and stalks in the foreground of some of Nair’s photographs. “This is the first time they are growing wheat because of a recent change in climate,” Nair noted. Despite some obvious aesthetic differences, both artists successfully illustrate the indelible legacy and culture of Bhutan. Nair and Brafman’s photographs are gifts—glimpses of a region that only a privileged few in the outside world will experience first hand. Indian-born Nair said, “This is the only reason why I hold on to my Indian passport. So that I may come here.” “Timeless Existence” and “Journey to a Magical Kingdom” run through July 23 at the Kathleen Ewing Gallery, 1609 Connecticut Ave., NW. For more information, please call (202) 328-0955 or visit www.kathleenewinggallery.com. Vanessa LaFaso is an editorial intern for The Washington Diplomat.