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     Volume 8 Issue 64 | April 3, 2009 |

  Current Affairs
  Cover Story
  Writing the Wrong
  Art - Seeing life   through Symbols
  Art - Young,   Experimental and   Daring
  Star Diary
  Book Review
  Post Script

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Art - Young, Experimental and Daring

Young, Experimental and Daring

Gallery Kaya presents six young experimental artists with visions of their own from April 4

Fayza Haq

(Left) Get from nature ,
bronze, Abdur Rahim . (Right) Perception, acrylic on canvas 2008 by Subrata Das
Sanjoy is preoccupied with the mindless expansion of the urban areas in our metropolises. In one of his images we see two huge rats walking over and nibbling into the rooftops of cram-jammed houses, which appear to grow on a table. A lamp and a chain are included in the composition.

His other painting has a huge eagle propped on more wires and gadgets that go into the electrical supply of a city.

Sanjoy's third painting has a woman lying on top of a roof of a city house. As she lies on a divan, the sash of her dress runs between the buildings like a dividing road.

The green, turquoise and ruby red used in the paintings have been applied flat. This adds to the contemporary vision.

In one entry we find human hands, teeth, mixed with age-old weighing machines, hanging from chains.

Subrata's other paintings contain patterns of flowers, peacocks, rickshaw horns mingling with images of garishly painted plastic rickshaw hoods.

Subrata has haunting images taken from the windows and wall-fittings containing dressing tables, flowerpots, furniture and ornate windows.

The reds, purples and greens have a hunting grey backdrop, into which the images mingle, as in a dream.

Nagarbashi Barman has scenes of superannuated boats seen under the water or besides, rivers with old oil lamps burning in the forefront. Planks, rods, broken-off parts of boats mingle with currents of under-water.

The black and white lines that present the images carry an aura of mystery and a haunting atmosphere of the past. Though done in variations of sepia, the pictures abound with life.

Ashraful has human seated forms with layers of folded newspaper images. Faces, eyes, shoulders, hands torso are presented tied by a narrow red ribbon, suggesting suppression of human expression. The black and white images are slightly tinted at times with pastel colours that add interest to the creations. The seated images are seen only partially, and all appear to be facing sidewise, as if turning away from some honour or pain in the vicinity.

Abdur Rahim's sculpture pieces are twisted abstractions that suggest walking and resting human beings. They could also be seen as abstractions of animal, bird and reptile forms.


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