Bronia Café Gallery and “Studio 48” at Gulshan. The theme was colours of Baishakh, captured by well-known artists like Fahmida Enam Kakoli, Nasima Queenie, Syed Hasan Mahmud and Rashid Amin as well as Suman Rahman, SM Muzahid Monir, Md. Tanvirul Islam, among others.
“Halkhata” by Fahmida Kakoli, was acrylic on canvas. It had letterings on black and in Bangla against the backdrop of orange, sunflower yellow and pink. The pink brought in an elephant, an integral part of Baishakhi mela and animal masks that parade from the Art College.
“Rhythm of Baishakh” was Nasima Queenie's depiction of nature by night. There was a bare tree, next to a full moon. Beside that was a giant flaming candle. Placed beside that was a Christmas tree in pale shades of soft yellow and mauve. Finally, there was yet another tree, split open down the centre.
Rashid Amin's “Wind” remains an abstraction with a merging of colours and is an excellent depiction of something as abstract as the wind. The merging of colours varies from pale blue to light brown. The amount of white put in, is mind-boggling, to say the least. One really gets the effect of a strong wind blowing through the land and sea. Amin manages to depict the abstract in a manner that is his own.
Syed Hasan Mahmud does detailed work of throwing acrylic on the canvas, a bit at a time, so that his work is minute and is certainly time-consuming. One faces a mass of green leaves, with some burnt sienna in the middle of the painting.
Syed Hasan has worked so minutely that one can understand the rhythm of the falling leaves only from a distance. He is a painter of immense patience and imagination. His work with nature is indeed admirable.
SM Ehsan's post-modern approach is to present “Boat” in which the sail of the boat is seen in many slivers of burnt sienna and vermilion. The border of the river is brought in by tiny representation of houses with minimal strokes and colours --bringing in people and Nature.
“Bonolota” in acrylic, like most of the other paintings has flowers and fish swimming in the distance, with huge curls of orange on a turquoise blue background. At one side, is a figure, which appears to be that of a woman. The painting is by Monjur Rashid.
“Boishak for Rabindranath” by Suman Rahman has the Kobiguru against a vermilion backdrop, in a cage, to put it, like some “Ochin Pakhi” of Lalon's, which influenced Rabindranath, there is a gas light of the poet's time at the side. For the backdrop and the background, the artist uses vermilion and blue.
Tanvirul Islam's flight of fancy makes him combine the visage of a lion and a fish, a female and various portions of coloured extravaganza which means yellow, blue and red striped bits.
The promising exhibition will lure art buffs.
The exhibition, which began on May 3, ends on 14th May.