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A subtle power dynamic emerges as the narrative shifts, between the photographer and time itself, as the &#13;
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                <text>Recognizing one's inner journey isn't always easy. &#13;
When you grow up in the shadow of an ideal, you risk confusing what you feel with what you expect to feel. &#13;
Emotions speak to us like an indistinct whisper coming from within. And it is in this uncertainty that the impulse to seek —outside, in the visible world—a sign, an indication, a guide is born.&#13;
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Thought becomes a pilgrimage, a wandering, often solitary cruise, which passes through silent zones of consciousness and territories where language is made of symbols and intuitions, more than words.&#13;
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But it is only when you stop looking elsewhere that you truly arrive at the heart of the odyssey. &#13;
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"USSARO" moves along trajectories that do not follow rational lines. &#13;
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&#13;
Each photograph  is a portal: it introduces us to a space where time is suspended and identity shatters to reveal itself as multiple, fluid, universal. &#13;
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"housework" or "domestic work," most traditionally executed by women. Historically, this work is perceived as naturally "feminine" which encourages a false biological destiny for women in which appreciation or "love"-rather than wages or money- is meant to serve as its own reward for the work.&#13;
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This project consists of quotes and images from interviews with 19 women across Dharamshala, Himachal Pradesh, India and archival photos, capturing the everyday lives of women. Inspired by the International Wages for Housework movement, started by feminists of the 1970s, Mai Ni Meriye sought to understand housework from women at the grassroots level and humanize the subject.&#13;
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