Razaq Vance was born in Samundari dist Lyalpur.
His ancestral village is Bains Awãn or “BainsãN” in tehsil Dasuha district Hoshiarpur.
He got prizes in most of national salons and a number of international contests – two Gold medals in the International Photographic Salon of Japan and his work has been published in the Digital Photographer magazine published in Ukranie.
Amarjit Chandan writes,
What is so striking about photographs taken by Razaq Vance and posted here on Kitab Trinjan? There is certain stillness (thehrao – not in the physical sense associated with non-moving photography), restraint (sanjam), and silence (chupp). It is like a movie with a minimal sound track – the stillness of the river Raavi is enhanced by the sinking sound of the fishing net thrown in the water; the refrain of kabaddi kabaddi anticipating the sound of the whistle of the young referee; the sound of walking human figures’ footsteps filtered by the much treaded soft soil under the feet lit with the late morning sun; captivating smile on men’s faces and a lovely turbaned man waiting response from the man he is talking to.
Here in this photograph I hear a little pause in their conversation. I hear the breathing of the potter with the whizzing of the wheel and the slippery sound made with his motherly hands holding the wet clay giving it a new shape. This is the first time I see a still life in Punjabi setting. All revolves around the little sun – the kinnu orange – the rizq, the sweet fruit of human labour.
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