Tishani Doshi on Karen Knorr
“I still remember the wonderful twinning of uncanny and wonder I felt when I first encountered Karen Knorr’s work. I’d been asked to write short fables to accompany some of the images from her “India Song” series, and I kept thinking, How did she make this? But also, Look what she has made! Karen puts together two categories I adore: buildings and creatures. And she does so with such elegance and play. She challenges and changes our way of seeing, nudges us to look at the beauty of human-made spaces, whether they be palaces or temples, and interrupts this with the beauty of the natural world. By juxtaposing animals and birds (many of them endangered) into these interior spaces, she captures something of the fragility of coexistence, but also offers much-needed hope of harmony.
It was a dream to have “Avatars of Devi” for the UK cover of my new collection of poems, “A God at the Door,” because it captured exactly what I believe the divine to be. A liminal threshold in the form of a doorway, along with symbols of the sacred and the profane. A magnificent lone Sarus crane, which mates for life, and a cheeky monkey looking straight at us. All pilgrimages lead us back to ourselves, and Karen Knorr’s work does just this.“
Karen Knorr, Avatars of Devi, Zanana, Samode Palace, 2008–2012
Cross Currents is a recurring series that shares the insightful perspectives of influential individuals on fine art photography.
The series creates a dialogue that emphasizes and expresses the power of art.
We use the concept of “Cross Currents” to illustrate how a significant master in one art or practice can influence a different expression form. For the series, Holden Luntz Gallery connects with gifted individuals outside the discipline of photography and asks them to share their thoughts on a photographer or a body of work and how it has impacted them.