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Monday, April 21, 2014

Tuesday, January 29, 2013
Arts & Entertainment

Nature, symbolism and expression

Group print exhibition at Galleri Kaya

(Clockwise from top): Prints by Anisuzzaman, Nagarbasi Barman and Nitun Kundu.

Galleri Kaya in Uttara has organised a group print exhibition, titled “Chhapai Chhobi-2”, featuring the works of Mohammad Kibria, Murtaja Baseer, Nitun Kundu, Mahmudul Haque, Abul Barq Alvi, Ratan Majumdar, Wakilur Rahman, Rashid Amin, Anisuzzaman, Nagarbasi Barman, Mohammad Rokonuzzaman and others. The mediums used are: etching (black and white, colour), intaglio, lithograph, wood cut, wood block, acquaint and more. Pure forms and compositions, architectural lines and shapes, scribbles, semi- figures, floral forms and human figures in varied dispositions are featured in the exhibition.

Among the printmakers, Mohammad Kibria, Murtaja Baseer, Mahmudul Haque, Ratan Majumder, Anisuzzaman and Nagarbasi Barman's prints are praiseworthy in their unique style and technique.

Mohammad Kibria transformed limitations of technique into pure expression. Because of his longing for intricacy and smoothness, he creates a language of his own through printmaking media. The iconic printmaker has used minimisation aspects of his works. Due to the influence of his guru Hideo Hagiwara in printmaking, Kibria's print reflects ingredients of Japanese aesthetics. In addition to Hagiwara, Mark Rothko's soothing compositions, Alberto Burri's dissection of forms and Antonio Tapies's aesthetic of meditative emptiness had a major impact on Kibria's work.

At the exhibition, Nitun Kundu's “Untitled-1” has cascading contrasting shades of blue, green and light purple forming geometrical shapes interlacing with one another. Another of his prints is an overwhelming pattern of layers of geometrical forms in soft shades of azures, yellows and browns.

Mahumdul Haque is one of the foremost disciples of Mohammad Kibria. At the exhibition, his formal arrangement with forms and compositions is noticeable in his prints. His etchings present fragmental pattern in a swirling and floating atmosphere of shapes and tiny forms. Some of his prints clearly focus on scribble lines and several kinds of vague forms.

Ratan Majumdar is a ceramic artist turned printmaker whose growth has been slow and steady. He focuses on urban alienation which combines nuanced lines with the simplicity of black and white woodcut print. He simply disappeared from the art scene only to have reappeared in 2007 with a solo print exhibition at Galleri Kaya. His signature style now efficaciously provokes a sense of reminiscence and longing.

Anisuzzaman is well-known printmaker for his superb woodcut prints. His prints focus on urban architecture, construction of human accommodation and cities' structural design. At the exhibition, his two large woodcut prints are closely related to geometrical and structural elements where one can easily sense his passion for the language of architecture. However, his works are not solely architectural; they are also concerned with economical and social issues. His works are complete with varied vertical, horizontal and diagonal lines.

Nagarbasi Barman seems obsessed with fish, fishing net, riverine life and their relationship with humans and bucolic nature. Sometimes his works highlight his native village and varied aspects. Lighting is a prominent feature in the prints and the artist generally prefers incandescent light and mystifying setting. The most significant aspect is that his works are not exclusively related to urban life. Most of his works overwhelmingly focus on fish, boats, hooks or fishing nets. The young artist obtained his masters in printmaking from Visva Bharati University of Shantinikatan. He is a lecturer at Jatiya Kabi Kazi Nazrul Islam University in Trisal.
The exhibition ends tomorrow.

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