Sphere And Absolute Form
believed that absolute circle only existed in the mind.
The artist can only produce a copy of that in the form of
his or her art. Mohammad Fokhrul Islam seems to be in gear
to disprove this. He is bent on giving the circle a new
lease of life, or rather the idea of a circle proposed as
an art form a new expressive quality.
solo show of paintings, spherical elements abound. The monochrome
images beckon the viewers and make them stand still, to
contemplate of course.
whole oeuvre is reminiscent of the cosmic spheres. They
bring into mind the relays of images seen in old-era books
of cosmos printed in black and white. But, basically they
are strewn with self-referential elements. In short, his
works thrive in their intrinsic beauty. From subtle to delicate
development of perforations, extrusions and marks, to striking
arrangement of spaces defined by their darkness and lightness,
Fokhrul's work simply overwhelm our retina.
oil on paper.
one should remember that he started out as a romantic trying
to bring the observed reality into the visual domain. His
landscape-like works from the mid-90s and the pure abstractions
that followed them, were all indicative of his emotional
involvement with nature. "Those who always talk about
reading books, do they read reality or even the pattern
of the leaves that a particular tree adheres to?" he
used to argue. As for now, he has stepped into a purist
language of art.
evidence of abstract concept is everywhere in the walls
of Bengal Gallery. The idea of 'painting as painting' is
vigorously explored in most of the pictures. In a presentation
that uses a series of longish pictures, the artist shows
how a whitish sphere is poised on a thick line that can
be perceived as a thick plank observed sideways. He plays
with this abstract idea of a ball being balanced on all
the series. The painting in the middle, the central piece,
is the one that shows the ball being rested on a plank that
stays still and is in perfect horizontal level. In the paintings
of the both sides, this same platform is being manipulated.
In these lateral frames, the platform is slightly tilted,
the tilt is great in work furthest from the central piece,
and in both the works right next to it the plank almost
are other pictures that explore spheres. These new works
are more finished in look, and seems well thought out. They
are more about form than about feeling. The construction,
the firm built is given salience. Cognitive factors, or
sensation takes a back seat. Perhaps this is the end that
all mature abstraction reaches.
there are remnants of the romantically inclined man that
still grips our imagination. In work like Image-39, the
sphere is a loosely constructed perforations and marks.
In fact, the marks make the sphere break free of its formal
roundness, which makes it all the more emotionally toned.
More tilted to this temperament is Image-52. In it, darkness
pervades and the splash of light around few concentrated
horizontal lines and dots become a beacon of hope in the
middle of a dark, blank space.
never was a man given to despair; this fact blends in with
every presentation of his solo.