::: Star Weekend Magazine :::

Dreams
and Drama
in Driftwood

Fayza Haq

Priyobhashini is a lady who has mesmerised a large number of art enthusiasts in Dhaka despite not having any art degree. Yes, she does appeal to many with her sad stories of life. But she puts them into her work too. If SM Sultan discovered her and encouraged her in the driftwood creations, she must have had a genuine streak in her from way back. Yes, people are sometimes a little weary of sad stories of the Liberation War, famine holocaust, but at times, with the impact of globalisation, the urge to get ahead makes us oblivious to the wealth of our own heritage and environment. She does revive in us our love for the charm of life in Bengal the wealth of which writers and artists have sung praises ad lib through time immemorial. She makes us have courage in our past and fortitude about our future.

Her new compositions remain idyllic and admirable, telling us what a woman can go on creating with just a little imagination, hard work and perseverance. The rainclouds and lashing of incessant rain can evoke lines of Tagore with coconut shells, barks, branches of trees in her collage, elements provided by nature. Lonely moments in dark nights in Priyobhashini's creations can bring in subtlety with balance and tone of work despite lack of years of schoolroom training. The lady in a black and orange sari, with a border of shades of black, white and brown is a portrait worth admiring. In another one, we have two houses, with ivy, which again brings in the peace and contentment of the country homes. The artist admits that in this particular work she was only reaching out for the conventional demand for a little creative work to decorate the household niche. Made from remnants of broken bricks, the creation includes clouds, trees and the conventional requisite paraphernalia of a landscape with sleepy clouds and still, snoozing trees.

From Left: Monsoon Trekkers, 2010. Distant Thoughts, 2009. Sagarika, 2008. Rainy Day, 2009

The call for peace through a Gautam Buddha image should surely not be undermined as, even in the present day, artists have been using this image repetitively. When there is havoc and pain the world over, a call for respite and meditation should be welcomed albeit from an artist of no great shakes. With the title “Worship” of peace, the Buddha image and the temple, done with wood and coconut beads encourages a clarion cry for harmonious existence of mankind. It almost drives away the recurrent nightmare of Munch “The cry” which must be haunting so many after a quick glimpse of the small screen nightly news.

In contrast to the serious images is the flanking “Ghost house” which brings to mind the innocent and child-like image of “the ghost house” which will surely bring nostalgia for some who can recall the telling ghost stories which used to entertain them. The world over has a hang up for ghost stories which form so many of our own myths and legends, many of which can be traced back to the colonial days of the Sepoy Mutiny and beyond. The frightening image included in the tree trunk in the next attempt, and the lining up of boat images in the backdrop where people get together to collect snakes and amuse visitors is interesting too. The story of snake charmers or “bede” have a universal appeal .

The “Mother's womb” or “Matrir gorvo” comprises layers of branches of trees, intertwining and creating an image which might fascinate some, while others may find it blasé. The umbrellas made from coconut shells is meant to similarly remind us of “The raineth it rain every day”. Environment has been the theme of artists for years together and the artist wishes to remind the viewers of just this and no more. In the 21st century, we are more than aware of the importance of rain. Harvesting season is a joy for farmers universally and the artist has taken it up with the help of driftwood. The medium makes it interesting. The amalgamation of the old and new work gives the display space. Bengal could not have been more encouraging. The diversity of the medium and Priyobhashini's humility as a financial success has always pleased art buffs over the decades. Her dazzling smile and her patience with her bits and pieces over the years deserve an accolade.

Another item which would delight environment-conscious viewers are bits and pieces she has collected from her walks adjacent to her home. The black coal used at the back sets them off neatly. This decorative item is passable for those in a hurry for a quick selection of scenes that lend peace and contentment in this quixotic world of ours. This again may not be crème de la crème, but surely this should soothe world-weary eyes that crave for respite from the in-vogue obsession for action and sex for themes -- rather than gentle suggestions of sensuality. One could never be blasé with this nostalgia for abundance of co-existence of man and nature. One could never have too much of Priyobhashini's gentle, feminine, vision. It soothes and mesmerises and again haunts one, which is the artist's “humble attempt” -- take it or leave it.