Fayza Haq
Mingling passion with pain
Hasibur Rahman's breathtaking sculptures at Alliance Francaise
Hasibur Rahman Kiron fascinates his viewers with his intensely agonised vision in his sculpture work in wood, papier-mache and cement. His exhibit, comprising years of labour of love, is being showcased at Alliance Francaise gallery under the title, Ballad of Footsteps. Juxtaposing man against nature, he delves deep into images and memories of an overwhelming, nightmarish nature. He mixes tragedy with the lust for life in a flamboyant and fastidious manner. Self-effacing and soft-spoken, Rahman presents a treasure-trove of sculpture that one marvels at. Subtle and passionate, there is not a single extra form in his work. Although this is his first venture, he appears mature beyond expectations.Asked how he transferred painful situations into something so beautiful. Rahman says that he has sought lyricism within sorrow and suffering. Hence he has found salvation in seeing beauty in the simple things in life around him and the tales of the recent past such as the Liberation War. He has brought in swaying trees, delicately sculpted leaves, barred clouds in the sky, the resting of cows, along with masks, apart from figures of statuesque men, women and children. Like many passionate artists, his vision includes the flora and fauna of the past and present. Rahman says that his experiences in life, both personal and universal, have egged him on rather than any particular art teacher at Dhaka University. He began sculpting as a free-lance artist since 1984; the present collection of 33 pieces includes his work from 1994 onwards. Most of his work is detailed and realistic although some of his works are semi-abstract and surrealistic. His favourite works are The Human Chain and Era (cement) which deal with the 1971 war, and the suffering that it involved. The theme of women losing their honour, as a consequence, was also included with a dramatic impact. The theme of agony of Goalondo Ghat (cement), similarly, harks back to that time of despair, death and destruction. A crucified form is brought in another cement work, Suffering, which again blends hope with fear and pain. Lyrical trailing creepers form the base of the subject. "In the struggle for freedom, I symbolise mankind's eternal strife as he progresses from childhood to his adult days," says Rahman, adding, "Conflict and struggle are integral parts of life and herein lies the wonder of creation. From the ashes of destruction emerge pulsating joie de vivre." Presenting the carefree days of the past is Childhood (cement). This is done in his typical flamboyant sweeps and curves. "I've tried to involve acrobatics in this. Here I've taken the help of abstraction to bring in the element of force. This involves uninhibited curls and sweeps of felicity. "Scarecrow (wood) brings in the irony of pecking crows scaring off a man, represented in the scarecrow. Face and mask (papier-mache) presents the reality of mankind, and the grotesque visages that it presents to society. This entrée seems lashed on bright colours," says Rahman. The display is indeed a must for art enthusiasts, as there is a lot to learn from it.
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Sculptures by Hasibur Rahman |
