Art unites eleven powerhouse artists at 'CROSSROAD'

It's the 3rd of April, and yet another exhibition has kicked off at Uttara's Galleri Kaya. Forgive us if that opening line feels a bit flat; quite frankly, we've clearly run out of fancy introductions for what is arguably the most active establishment in Dhaka's art circuit. For 22 years, Kaya has been the quiet heartbeat of the city's art scene, consistently breathing life into an otherwise sluggish cultural landscape.

However, 'CROSSROAD… not a project' was anything but dull. For lack of a better term, it was wonderfully artsy, colorful, and vibrant. While we often describe Galleri Kaya as silently breathing life into the scene, the evening of 3 April was anything but silent or niche.

The premises were packed to the rafters—we practically had to exchange pleasantries from the edge of the entrance just to fit in. This swell of artists and enthusiasts had gathered for the 11-artist group exhibition, made all the more notable by the presence of the Chief Guest, His Excellency Pranay Verma, the High Commissioner of India to Bangladesh, who officially inaugurated the show.

'CROSSROAD... not a project' showcases 11 powerhouse artists born between 1970 and 1989—a generation currently redefining Bangladesh's contemporary landscape. These creators exist at a unique intersection where tradition meets experimentation and local roots tap into global discourse. While some, like Abdus Sattar Towfiq and Sahid Kazi, shape future generations through their roles at the University of Dhaka, others navigate the scene as prolific freelancers.

The title itself underscores that this isn't a curated "project" with a specific theme; rather, it is a spontaneous confluence of diverse visual languages. The roster features heavy hitters such as Ashim Halder Sagor and Azharul Islam Chanchal, along with the 2026 Ekushey Padak recipient, Tejosh Halder Josh. 

Together with peers like Shohag Parvez and Nabaraj Roy, they offer a collective snapshot of evolving aesthetic grit and socio-political consciousness. It's less of a formal statement and more of a living, breathing intersection of individual histories—making it the perfect fit for Kaya's high-energy atmosphere.

"Art, by the very nature of its expression, is silent. It is a silent but incredibly powerful medium that connects cultures and transcends national boundaries. That is certainly true for the relationship between India and Bangladesh as well."

Pranay Verma, High Commissioner of India to Bangladesh

Explaining the choice of the title of the exhibition a bit further, Kaya director and founder Goutam Chakraborty explained that most of these artists started their journey as artists around the turn of the century. While some of them have made quite a big name for themselves, others, Goutam believes, are in the process of doing so. 

"One might as well say that these artists are at a crossroads," explained Goutam. 

He further shared that since these artists have taken inspiration and have sourced their material from global exposure, the exhibition couldn't have been fitted under the banner of any specific project or theme. Hence, the title.

Leaving the artworks aside for a moment, we certainly couldn't pass up the chance to speak with a high-profile art enthusiast like Pranay Verma. We had the brief opportunity for an exclusive chat with His Excellency regarding the potential for greater cross-border affiliations between Bangladesh and India.

The High Commissioner humbly resisted any label of being a "connoisseur" or an artist, simply saying, "I appreciate art as a common person, as a human being. I'm no artist myself. But I'm sure every human being has somewhat of an appreciation for art; that's what distinguishes our species from others."

When it comes to cultural exchange, Bangladeshis are innately influenced by Indian culture—especially the creative arts. However, one could argue that Indian influence has the most significant impact in the realms of music, film, and sports. From that perspective, we asked if it would be inaccurate to suggest that the influence of Indian visual art takes a bit of a back seat to those other giants.

"I don't think it's entirely appropriate to say that art takes a back seat [in comparison to Indian music and films]," Verma responded. "I think it has its own position, and this exhibition is a good example."

Verma pointed to the artists in the exhibition as a prime example of this cultural connection. Many of them studied art in India, which he feels fosters a genuine mutual appreciation and a robust bond between the two nations.

"If you talk to the people present here—hear their experiences of studying, visiting, or exhibiting in India—you realise how large and connected this community really is, and how much they appreciate each other's work. Art connects in ways that other forms do not," the High Commissioner noted.

Pranay Verma concluded our brief conversation by adding, "Art, by the very nature of its expression, is silent. It is a silent but incredibly powerful medium that connects cultures and transcends national boundaries. That is certainly true for the relationship between India and Bangladesh as well."

TBS PICKS

Teknaf lake by Sohag Parvez

Medium: Acrylic on canvas

Sohag's works serve as a celebration of the Bangladeshi landscape and its people. He focuses on the "ordinary"—farmers, fishermen, boatmen, and hill communities—capturing the quiet rhythms, struggles, and joys of their daily lives. By traveling to remote villages and riverbanks, he paints from direct observation, drawing deep inspiration from the natural environment and the sincerity of human expression.

Rhythm of the Reapers by Shahanoor Mamun

Medium: Acrylic on canvas

Golden paddy fields ripple like waves, enveloping farmers who work in silent unity with the land. Through vibrant, impressionistic brushstrokes, the sun's warmth radiates across the canvas, capturing the steady rhythm of labor and the gentle sweep of the wind through ripened grain.

The inclusion of small human figures within this vast landscape evokes a sense of humility and harmony—a visual testament that the harvest is far more than a mere agricultural act; it is a profound celebration of life.

Playground-25  by Azmeer Hossain

Medium: Watercolour on paper

Azmeer Hossain's series of Monsoon paintings are  inspired by the season's rain-drenched landscapes. Boats drifting across swollen rivers serve as symbols of journey and resilience amidst the shifting waters, while buffaloes resting in flooded fields reflect the quiet strength and grounded simplicity of rural life.

Soft watercolor washes merge cloudy skies with shimmering reflections, dissolving the boundaries between land, water, and air. The fluid medium perfectly captures the rhythm, movement, and contemplative mood of monsoon days. Through subtle tonal transitions and atmospheric depth, the series celebrates the harmony between nature, motion, and life during the rainy season.

The exhibition will remain open everyday from 11:30am to 7:30pm till 16 April.