Photography keeps Anannya sane in a life otherwise devoted to the written text and print. Currently she is a doctoral candidate in the English department at Rutgers University in the United States. Since it did not involve more reading and writing, she began taking photographs, a few years ago, as a way to take breaks from work. Her interest in narrative and representation in text carries into photography. She is thrilled by the startling colors and narrative patterns in the details of ordinary things. She also finds that her inability to follow recipes without creative modifications while cooking has had an enabling influence on her unconventional approach to post-processing.
Her initial experience of documenting family and social events and the photo journals of her travels in India and abroad, culminated in a series of calendars and postcards designed for circulation among family and friends. Her more recent projects include the design and photo credits for a brochure for the South Asia Studies Program at Rutgers University. Her photograph A Door to Rani Rupavati Mosque has just been published as a cover for Mahua Sarkars book Visible Histories, Disappearing Women by Duke University Press in April 2008.
Anannya does both representational photography and what she terms photoart abstractions. An engagement with macro textures in realist photography led her to abstract photography and then to an interrogation of the relationship of photography and painting. She uses the tools of digital post-processing to stake a claim on the canvas and palette. Digital photoart, in her view, allows not just representation but an interpretation of perceived reality as a stated artifact.
When not working on her dissertation or creating photoart, Anannya writes doggerels, collects music, invents meals-in-bowls, teaches undergraduates the joys of close-reading and visits every aquarium in her vicinity.