Monir-ul-Islam is known the world over for his bold and innovative paintings. Chakladar Mahboob-ul Alam tracked his old friend to his home just outside Madrid to produce this profile and exclusive interview.

When I phoned Monir to interview him, he invited me to have dinner with him. Sitting in his kitchen-cum-dining room, while Monir cooked the meal, we talked.

Chaklader Mahboob-ul Alam (CMA): Monir, how do you go about creating a piece of art? Do you first compose it in your mind and then start drawing it or the idea develops as you paint?

Monir ul Islam (MI): I have an idea or an image but it is not defined. It comes like a flash and I try to capture it before it disappears from my mind. I usually try to record these images in my sketchbooks. The details in terms of lines, colours, forms come naturally as I start putting the idea on a surface, which can either be canvas, paper, wood, or metal plate. For me, every piece of art is a unique aesthetic experience which is totally different from anything that I have done before.

CMA: What are the sources of your inspiration ? Where do you get your images, your ideas ?

MI: I do not reproduce aspects of still life, but the images that I work on come from nature and the varied experiences of day-to-day life.

CMA: Do you have a routine or a ritual for painting?

MI: I do not have a routine as such. Since I lead a rather busy social life, I tend to work late at night.

CMA: Do you work in spurts or on a regular basis?

MI: I have heard of artists working in spurts as and when they are inspired. I believe in working every day. It is a question of discipline. Actually when I sit down to work, often an idea or an inspiration comes to my mind and then I start fiddling with it.

CMA: What about your sense of place? Do you feel and work differently when you are in Spain or in Bangladesh?

MI: There is no doubt that my roots are in Bangladesh, but I feel at home at both places. I enjoy my stays in Bangladesh because of my mother, brothers, sisters and, of course, nephews and nieces. As you know, my wife Mela is Spanish. I am also deeply attached to our son Arman. Through them I have laid roots in this country as well. So you see, I am happy in both the countries.

CMA: You have a complex cultural and artistic heritage -- do your works represent any one heritage in particular or both at the same time?

MI: I am a product of both cultures, therefore, my works represent both. It will be difficult for me to separate one from the other.

CMA: Do you often change your medium?

MI: There is no set pattern but I do switch mediums whenever I feel, it will give a new impulse to my creativity and imagination.

CMA: What sort of material do you prefer -- paper, wood, canvas, jute canvas, or copper plate? What about colours? Do you make them or buy them?

MI: I use a variety of materials, colours, shapes, and textures for different types of work. I tend to use local materials. I buy some and make others. I make my own paper from pulp for print-making and painting. I am constantly looking for new materials. For example, I use cardboards made from recycled paper, acrylic glue, sand, ground eggshells, textile-dyes commonly used by weavers and other local pigments. I have also used marble dust and fibre glass. I collect varieties of collage materials from the immediate surroundings. As far as colours are concerned, I am experimenting with different mixtures all the time.

CMA: What do you think of digital images which are now being promoted at art fairs? Do you have any experience in this field?

MI: I have always worked on real surfaces. Digital images are created on virtual surfaces. It has its own charm and creativity, but I must confess, I have not had much experience in this field. I have been invited to participate in some of these workshops --who knows, one of these days, I might feel tempted to take up one of these invitations.

CMA: What have been the achievements of Bangladesh in the world of art during the last thirty-four years?

MI: Bangladesh has made enormous progress in this field during this period. I remember, in the sixties there were hardly any galleries and exhibitions in Dhaka. Now, there are so many opportunities for the new artists that they can even dare to show their impatience with the tradition, break established norms, and experiment with new ideas.

CMA: What is the reason for this change?

MI: Well, I do not think that there is one single reason for this change. A combination of factors has brought about this change. The birth of Bangladesh after so much human sacrifice gave us an enormous sense of pride, a new national identity which gave new impetus to creative art. Many Bangladeshi artists also started travelling abroad to visit art galleries in Europe and America. In this manner, they were exposed to new ideas and new techniques. The rise of a new class of wealthy art-loving entrepreneurs and businessmen in Bangladesh also helped the situation. After all, in order to survive, the artists must have a market where they can sell their products.

CMA: Generally speaking, how do you see the future for art in Bangladesh? Would you like to mention any other field of art where Bangladesh has done particularly well?

MI: Well, I see the future for art in Bangladesh with enormous optimism. In my opinion, during this period, we have made great strides in the fields of graphic design, photography and sculpture.

CMA: As a maestro would you like to give any advice to the new generations of artists in Bangladesh.

MI: My advice to them is work hard, experiment with new ideas, and never feel disheartened. There is always light at the end of the tunnel.