the last solo show of artist Mokhlesur Rahman the images were
a homage to his childhood days spent in proximity with nature.
Beauty was presented in the form of landscape. The viewers were
annexed to a world, which had wide open fields that rolled to
the horizon inviting the eyes to travel to get a feel of the
depth. It seemed as if curtains were removed from simultaneous
windows to explore scenes of open fields of rural Bengal. In
the very recent show, the same artist has shifted his point
of attention and presents a series of small and medium size
paintings where the bird-motifs and shadowy colour patches intermingle.
The enticing open spaces have shrunk to make way for the play
of colour and their various nuances in many pictures. As most
of the presentations are woodcuts, they also vigorously display
the signs of the media; cuts, lines and tool-bites are visible
occasionally in many a painting. These works often reminds one
of the imagery of Rafiqun Nabi. "Love", the green
dominated work depicting two parrots on one side, is representative
of this influence.
are pictures that are heavily layered. In them play of light
and shade remains the high point. Work like "Bird-3"
possesses such mystifying quality. The artist himself has stated
in the catalogue that the bustling city life has such effects
in his soul that a retreat from it is a way to recognise in
himself the thirst for his childhood village scene and natural
vitality. Presently, the nostalgia is visible in his pictures.
But it has gained an aura of unreality that resulted in experimenting
more with the nuances of the media he used. Even his "Mustard
Field-3," a large woodcut, is dim, bereft of the vigour
of the earlier ones. The artist seems unwilling to reveal the
real stuff -- the far way horizon, the greenery punctuated by
Low-key is the mode he applied with full satisfaction, the result
is a relay of images that are not so revealing in character.
Though the elements like landscape and mostly birds remain his
vehicle of expression, Mokhlesur Rahman, in this show, seems
to have shrouded them with his technical finesse. Works look
assertively painterly than representative of the subject that
in between colour-field abstraction and realism the artist has
tried to subsume his passion for life into every piece. The
works are upbeat and eye soothing. Perhaps more perked-up attitude
would have prioritised the need for withdrawal of the dark fog
that covers many an image -- or perhaps this affectation is
what the artist aimed for.
consequently seems a bit hastily done; yet there are works that
posses enough visual verve to attract the discerning eyes.
show at Shilpangan started on January 23 and will last till