Swiss photographer Roshan Adhihetty (* 1990 in Lausanne) accompanied several nude hikes in 2014, e.g. in Germany, and became known far beyond the borders of his home country with his exam photos on this subject. He was also awarded the “Prix Photoforum PasquArt” in Biel for his series of photos about nude hikers. In 2015, his illustrated book “Nacktwanderer” [en: “Nude Hikers”] was published with an extended selection of photos.
In 2018, he received the renowned “Swiss Photo Award” for his series “Konstruktion der Wirklichkeit” [en: “Construction of Reality”], for which he was already nominated in 2017. In addition to his professional activities as a photographer in Zurich, he is involved in a wide range of projects such as the “Animal Frame” in 2019, an exhibition on the practices of the meat-processing industry at the “Haus der Ameisen” [en: “House of Ants”] in St. Gallen. He is a member of the renowned Swiss photographers' association “13Photo” and works as a lecturer at the School of Design, St. Gallen.
- Website Roshan Adhihetty:
“adhihetty” (adhihetty.ch)
[en: Roshan Adhihetty - Photographer;Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein. ; +41794423827; CH, Zurich; editorially represented by agency 13photo; a new website is coming soon! :)]
- “Die Nacktwanderer” (swissphotocollection.ch)
- “Roshan Adhihetty” (13photo.ch) – translated explanation on that website:
“About Roshan Adhihetty
His curiosity always drives him into adventurous picture worlds and different subject areas.
In doing so, he meets the depicted with respect and great interest. His socially engaged pictures are intended to inspire the viewer to wonder and reflect, free of morality. For the écal graduate, composition, lighting, and technique are entirely in function of the desired message of the pictures. These are often staged, perfectionistically choreographed, and at the same time, they possess an authentic documentary value. Whether portraits, art, or editorial, Adhihetty not only depicts what happens, but also interprets and creates unabashedly. This is how the young photographer achieves his unmistakable humorous style.”
Note: “écal” is short for “École cantonale d'art de Lausanne” in Switzerland (Source: en.wikipedia.org – 2022) - “Konstruktion der Wirklichkeit” (swissphotocollection.ch) – translated explanation on that website:
“Project description
In the early days of photography, it was perceived as an indexical representation of an event. Just as the flag gives an expression to the wind and proves that it exists, photography shows us objects that must have existed in the past.
This high demand on the objectivity of photography as well as its physical index character was radically broken at the latest by the digital image. From a purely technical point of view, there is no longer a trace, only a code that is re-naturalised when printed. The possibilities of influencing this image became enormous.
Nevertheless, every photograph retains a basic documentary character. Photography is defined by its production process: the inscription of an object on light-sensitive material. This involves a brief moment that is beyond the photographer's direct control. As soon as the shutter is released, nothing can be seen through the viewfinder. The essence of photography lies in this brief interval of light transfer, which is resistant to interpretation. Every interpretation and statement of a photograph can only be made in accordance with a cultural code. When reading a picture, an individual interpretation is constructed on the basis of the viewer's cognitive visual language.
A photograph is therefore neither reality nor fiction. By definition, it cannot but base its statements on reality, yet it never seems to tell the absolute truth.
This paradoxical tension of photography inspired me to create my series. I developed a visual research on construction and reality, on the human urge for interpretation and our culturally conditioned ambivalent belief in photography.
I constructed on three levels: on the material, on the digital and on the mental.”