Salam has added variations of his own. He has worked on the metal sheet in numerous ways, continuing with his labour of love for hours at a stretch. His teachers, such as Mahmudul Haque and Rafiqun Nabi lauded his dry-point work at the opening, and were effusive in the detailed descriptions that they included in their respective opening speeches, at the opening of the show. The artist himself was bursting with confidence, as he spoke to The Daily Star about his exhibition, Rejection.

His broken doors and windows are not seen as simple subjects, said Nabi. The artist, Nabi pointed out, is trying to break the forms in his own style, and then recollect the broken forms, giving it a different look. This time he had added some figurative work along with semi-abstract shapes. What then is new? Nabi explained that Salam had added colours to the dark image -- when traditionally dry-point is in black and white. He is now getting an opportunity to participate in a workshop, and exhibit in the prestigious Fokuoka gallery in Japan. "He has been exhibiting professionally now for seven years, searching for his own identity. Later he found the dry- point to best express himself. I'd say the display is quite an achievement but this is not the end of the road. One expects him to improve with time," Nabi explained.

After completing his Commonwealth fellowship in London, 32-year-old Salam took part in the La Couriere exhibit, with 19 other print-makers from Bangladesh, in 2004. He then visited the various galleries in Europe to expand his vision. Salam said that he chose dry-point because this was a medium that had not been explored in Bangladesh. He said, "I always wanted to do something exceptional: dry-point was almost a dodo, locally i.e., and even worldwide not much has been explored in this medium. I wanted to do something on a large scale. The aluminum plates that I've used, are not just scratched on, but also beaten with a hammer, and put together in such a manner that you cannot find the joining sections. The plates have then been worked on to give textures. The hammer beats follow my emotions."

In his works, Salam symbolised the mundane existence of urban life. He broke the geometrical sheets. Thus the iconoclast moved away from the conventional clean geometrical shapes and edges. The final impact appeared pessimistic, as if the artist was overwhelmed by the prevailing socio-political scenario.