Pran-er Majhey Aaye | The Daily Star
12:00 AM, August 12, 2014 / LAST MODIFIED: 01:53 AM, March 08, 2015

Pran-er Majhey Aaye

Pran-er Majhey Aaye

Group exhibition at Shilpakala ends today

Qayyum Chowdhury (L) visits the exhibition.
Qayyum Chowdhury (L) visits the exhibition.

Just as the spectator enters the Gallery-2 of National Art Gallery of Bangladesh Shilpakala Academy (BSA), they are greeted with piano record of popular Tagore song “Purono Shei Din-er Kotha” amid a number of artworks, installations, sculptures, photographs and designs. Themed on the song, a six-day group exhibition by the Honours first batch (1992-93) students of Institute of Fine Arts (Now Faculty of Fine Arts), Dhaka University, ends today.

The classes of Honours first batch commenced on August 7, 1993, which, coincidently, falls around the Tagore death anniversary. On the same day 21 years later, the exhibition was opened by Vice Chancellor of Dhaka University AAMS Arefin Siddique, while teachers from different departments of Charukala, who initiated the honours classes, attended as special guests. Dean of the faculty, Abul Barq Alvi presided over the inaugural session.

Bibekananda Roy's mixed media work “Rabindranath” is one of the catchiest pieces of work at the exhibit. Roy has used numbers of small clay pots adorned with colours and texture to 'collage' a unique Tagore portrait. Md. Atiqul Islam displayed a beautiful female visage made of bronze, seemingly engrossed in thoughts; it is beautified with textures and fine detailing. Nasima Akter's floral tapestry is rhythmically composed. A combination of multiple mature and balanced colours on the work deserves accolades.

Soumik Das' installation “Question” gives a fascinating view of religious sacred symbols reflected into a mirror, while Kamruzzaman Shadhin displayed his performance art titled “To each their own faith, one with nature”.

Marufa Akther portrayed creative crafts of Bangladesh in mixed media. The collage work is an assimilation of diverse forms including windows of yesteryears, impression of a palm with fingers, a hanging net and a blissful kingfisher sat beneath it. The work, symbolic in nature, generates nostalgia in silence.

Masud Mizan's “waterfall” (mixed media) serenades the muttering songs of untainted nature while Abbas Uddin's acrylic “Nrittagni” immerses in the celebration of vibrant colours coupled with aesthetic rhythms. Ronni Ahmmed's charcoal titled “Do not open your window to the eggs” is experimental in style. Salma Zakia Bristy depicted an abstract acrylic image titled “Frame of Mind”. The colour maturity of the work is praiseworthy and uncannily resembles the work of artist Md Tokon.

Tahsina Shahin's acrylic “Biroho Dohon Lage” is a walk down memory lane of love and melancholy. The colour she used for the work is terrific while lines and some semi-abstract forms in the work have inspired poetic imageries. Aszad Hossain Khan's oil “The First Boat” is superb in colour balance.

Among others, Sukanta Kumar Bhowmik's “Nature” (oil), Tanzia Islam Khan's realistic work “Water Lily” (Watercolour), Tanzida Nabi's mixed media work “Unification”, Rashidul Hasan's wood cut “Memories of Old Dhaka”, Khaled Mahmud Rajan's colourful acrylic composition, Dolon Chapa's “Pecha” (acrylic on sora) and Nazia Andaleeb Preema's “Cosmopolitan” (Shoes and Fabloc) are beautiful example of visual arts.

The exhibition has been dedicated to the artist group's missing batch-mate and friend Imran, two beautiful works of whom are also on display at the exhibition.

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