Gallery Shilpangan exhibits the need to immortalise Old Dhaka streets
All three artists were alike on core aspects, but had entirely different artistic goals, yet through this dichotomy, all the art on display had a notable emotional throughlines of: preservation, history and heritage
Gallery Shilpangan is located on a quiet idyllic road devoid of traffic smack in the middle of Block D in Lalmatia.
It does not even impart that whole 'art scene aesthetic' that most developers and interior designers go for. It's a residential building that got converted into an office edifice, clearly evinced by the tiling used on the floor of the gallery itself, very reminiscent of childhood homes we grew up in.
The theme of the show, 'Dhaka, City of Memories', was based around the eternal war of entropy against our architecture, our rickshaws and the chaotic but homely nature of our streets.
Artists of many temperaments and eccentricities, who all graduated from Faculty of Fine Art, University of Dhaka, have unique perspectives and philosophies of art. These are men in their middle-ages but the flame of youth is rekindled in their eyes whenever the topic veers towards their craft.
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All three artists were alike on core aspects, but had entirely different artistic goals, yet through this dichotomy, all the art on display had a notable emotional throughlines of: preservation, history and heritage.
Al Akhir Sarker, 38 years old, DU Fine Arts graduate, was the epitome of an eccentric artist, replete with manic and curiously introspective soliloquy.
He had a sporadic mode of talking, you could see the artist's mind on full oratorical chops. During our exchange he periodically dropped wise axioms such as "All artists are philosophers, but without philosophy you can transition from art to fine art."
In a refreshing turn of events, Akhir claimed with every fibre of his being "That skill is about practice." To that regard, he told many tales of how he draws everywhere. In fact, one of his paintings on display was drawn on a newspaper; truly guerrilla, raw and emblematic of what true art should be.
When asked what his favourite media was, he succinctly replied "Everything. But I do have a soft spot for watercolours and acrylics."
Polash Datta, also an alumnus of Charukala had similar inspirations but completely different motives for preserving the ground level perspectives of Dhaka.
He wore a simple tattoo of a paintbrush and palette on his forearm, so it stands to reason that he wears his heart on his sleeve.
"You've seen how fast our city is growing. New is building atop the old everywhere you look," said Polash when posed the question of how he fit into the theme of this exhibition. "Take the rickshaws for example. I remember in my youth, when they were full of colourful art, street artists would try their best to draw the Nayak and Naika of their favourite movies. Now they have been replaced with advertisement stickers."
"I feel this is an artistic loss for our culture. In Mymensingh, where I hail from, I have already seen the wholesale removal of rickshaws in favour of communal tuk-tuks. Progress tends to flatten out the artistic edges where freedom of expression can flourish," he added.
It was very evident when speaking to this pensive artist that his mission statement was to "Retain the legacy of Bangalee beauty, culture and architecture through art." When asked why, he simply replied "Because our present will eventually become someone's past, and will those kids even know what a rickshaw is in 10 or 20 years' time?"
Biren Shome was the patriarch of this trio of artists, and the oldest graduate from Charukala. He graduated in 1969.
If you remember the timeline of your country's history you will know that this period of Bangalee history wasn't exactly obsessed with inculcating the arts. According to the sartorial Shome "We didn't even have the type of fine arts courses that we have now, back then it was in entirely different curriculum."
"I was very lucky to attend exhibitions from celebrated western artists. I have also seen Rembrandt before me and also broadened my artistic horizons while working in Kolkata and Kuwait. What it showed me was the delineation between commercial and fine art," he added.
There were no aspersions to be cast on any of the artists and their work in this gallery. The gallery itself, however, could benefit from some forward planning in terms of lighting. Oftentimes you could see the shadowy silhouette of yourself on the painting you were trying to take in.
It was supremely annoying, broke immersion and stopped viewers from being able to take in all the minute details that transformed mere canvas paintings into fine art. Sandwiching the exquisite works of art between a frame and a pane of glass does great injustice to the artist's effort. Whereas all the canvases that were not encased had much more visceral impacts on the viewers.
This is not a knock on the gallery at all. But a bit of forethought towards the viewing experience would have made this good exhibition into great.
TBS Picks
A selection of impactful pieces from the exhibition with a description of the subject
23-
Al-Akhir Sarker- Porir Bagan, Lalbagh
The eccentric artist is indiscriminate when it comes to choice of medium, this particular piece was an acrylic charcoal gowash on a newspaper spread.
56-
Palash Dutta- Sritir Janala, Ruplal House
This piece is a watercolour preservationist effort of the titular Ruplal House. "The windows are gone, but the view still remains magnificent" Palash Datta
62-
Sharmin Akhter Lina- Buriganga Besto Jibon
Proves that you do not need a big canvas to portray minute detail. The amount of emotion she can evoke within 13X10 centimetres speaks volumes to her virtuosity. Definitely an artist to watch out for.
10-
Biren Shome- Nobabi Amoley Buriganga
See the Buriganga of a bygone era, through the artist's displays of magnificent prowess over watercolour to show the royal nobility of a bygone era.
