The Queen's Room, Zanana, Udaipur City Palace
Conqueror of the World, Podar Haveli, Nawalgarh
Reconciliation, Poddar Haveli, Nawalgarh, 2020
The Opium Smoker, Chitrasala, Bundi
The Joy of Ahimsa, Takhat Vilas, Jodhpur
Avatars of Devi, Samode Palace, Samode
The Return of the Hunter, Chandra Mahal, Jaipur Palace, Jaipur
The Locust Eater, Udaipur City Palace, 2020
Sikander’s Entrance, Chandra Mahal, Jaipur City Palace, Jaipur
Tiger Breath, Sheesh Mahal, Amer Fort, 2020
The Flight to Freedom, Durbar Hall, Juna Mahal, Dungarpur
The Lovesick Prince, Aam Khas, Junha Mahal, Dungarpur Palace
The Survivors, Deogarh Palace, Deogarh
The Private Audience, Aam Khas, Junha Mahal, Dungarpur
Durga’s Mount, Junha Mahal, Dungarpur
Rest on the Way to Khichen, Juna Mahal, Dungarpur, 2021
Ganesha's Mount, 2020
Krishna’s Crown, Jawa Mahal, Jaipur
A Moment of Solitude, Amer Fort, Amer 2021
Friends in Need, Juna Mahal, Dungarpur Palace
Master of Seduction, Amer Fort, Amer
Homage to Ustad Mansur
Mohan, A Prince in Waiting, Manak Mahal, Udaipur City Palace
Krishna's Rasa Leela, Chitrasala, Bundi
Mahadevi's Divine Power, Bara Mahal, 2022
The End of the Hunt, Bara Mahal Udaipur, 2013
Mahasattva’s Sacrifice, Ajanta Caves
Attaining Moksha, Ajanta Caves, Ajanta
Leaving Mithyatva, Adinath Temple, Ranakpur, 2021

India Song 2008 - 2022

Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.

Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.