Zillur Rahaman, the apparent leader of the group, dwelling on his surrealistic work, which he claimed as his own entirely, although such work has been done a plenty, decades back and has been seen for years at Dhaka and Chittagong, spoke at length. In the oil colour one found such images as human faces, snakes, monkeys, elephants, wires, ropes, buckets, ants etc. They had been connected to one another by the zig-zag rope and the large nails that had been hammered on to the heads of humans and animals. They had been done in loud contrasting colours, such as red, green, brown, orange and offset with white. Details of the heads had been included, such as that of the cobra in the centre, with the background of white; the ten human head had been seen at different angles and sitting on them were birds and monkeys, which had been included to add an element of humour -- to lighten the heavy message of socio-economic and cultural discontentment and disarray, which Rahaman saw around him.

Rahaman said, "I did not stress on the play of colours as I did in the presentation of idea. I wanted to draw out the hidden existing evil in my vicinity." The red stripes on the brown cobra, the snakes entering the human mouths and heads (which were at times blindfolded, while at others appeared to have the bits of the brains pouring out) and coming out again through the necks and ears: this came in along with piercing arrows pinning down these images as in cowboy comic strips. Sketched white ribs and blobs of blood were included in the composition. Meanwhile, with huge nasty, gnawed rodents at one side; the heads appeared a part of some gruesome decapitation and later stuck to poles at times , all add to the delineation of mass confusion.

"The images have been put there." Rahaman said, "to depict the fact that there is a lot of disruption in the life around us. Today we say one thing and tomorrow we contradict it. The intertwining ropes, shown in different shapes and sizes, also stand for the prevailing chaos. While everything appear to be frozen in time, the ants, however carry on creeping on the ropes. Other elements too are shown in action, such as the hammering hands of the monkey and the swinging trunk of the elephant. There is the comic relief in the narration of the story of our lives. Some of the elements are simply there for composition." The unusual portrayal of men and beasts were there to drive home the point that in Bangladesh, and even elsewhere ,we were living in an unbalanced time , with upheavals almost overwhelming us.

Abdur Rahim, in "Life and music", had five sculpted items of polished wood. Rahim said, "These forms are inspired by the 'do-taras' that one finds aplenty in the countryside." At the same time, the forms, as the artist elaborated, were also delineation of human forms; so that one found the heads and torso chiselled away at the sides, in simplified geometrical manner; thus one found circles, oval shapes, lines. The wires that had been included were of bold metal. One was amazed at the contrast of the harshness of modernity which mingled with the simplicity of rural life, included in the creation. The large metal knobs in the sculpture varied in number. Bits of copper were included in the compostion. "It took me a month to complete this work," Rahim said. Touching on how he felt studying and working at Rajshahi, Rahim elaborated, "I'll say we're better off there than our counterparts in Dhaka: I found my medium so near at hand ( far from the cement jungles of the metropolis of Dhaka ) that that I could get aplenty to inspire me. My teachers too, like Mukul Kumar Baroi, are very helpful and encouraging. We are often free to experiment even though we're just in First Year Masters. I paint side by side with my sculpting but my forte is with wood carving, as I can best express myself there;again, I find this medium easy to handle."

Md Rokunuzzaman Murshed's "Nature-1" comprised of terracotta tile -- some blue some touched with brown -- which included simplified motifs taken from village life, such as boats, thatched roofs, boats and gentle waves of rivers. We saw the sun with its circling rays, a part of the boat-- portions that stuck out like neat segments of coral reefs. On top were other variations in layers of geometrical forms that brought in flowers, falling straw, the peeping sun, fish and resting boats. This piece, we were told, was the middle section of a series; in this one found a flamboyant play with textures and forms in the creation comprising of a dozen neat square burnt clay tiles. In "Seal composition" by the same artist, one found a more dramatic and individualistic creation with black discs that formed a curl in the centre of the hardboard backing with other bits and pieces in the same medium to support and balance the presentation-- with loops, dots and bars. The seals harked back to the ancient seals found at Harappa, Moenjodaro, Moinamoti and Paharpur, with touches of the artist's own flights of imagination, transforming figures and alphabets into fresh images.

Abdul Al Mamun's "Present Time-11" was a miniature print with elements from nature, like the moon presented as a disc sailing amidst pale clouds, a bent bridge over silent, moving water, and other elements of nature, such as trees and their leaves. The lines appeared sketchy and simplification was an essential element of the style. The element of bridging time together also entered the theme.

Hamiduzzman Khan, the leading sculptor and chief guest at the opening, praised the young artists for going ahead full steam with their experimentation and their variety of styles and themes , which were both eye-catching and subtle.