Haat Katali: Bishwajit Roy’s tribute to Sundarban
Bishwajit Roy uses clay, ceramics, and culture to protest the deforestation of Sundarban and celebrate its natural beauty
Artist Bishwajit Roy is one calm and quiet person. His voice remains low even in conversation, it does not echo in the sparkling white gallery. But that does not mean he is not loud and passionate, because his voice spills over in another way.
His art pools on the floor and stands tall on the walls, blending nature with ceramics and clay.
Bishwajit's exhibition, 'Haat Katali' was his way to raise concern about the destruction of nature by highlighting the beauty of the Sundarbans.
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Being held at Alliance Française de Dhaka, the exhibition is open for all till tomorrow , 7 January, from 3 PM to 9 PM.
The artist completed his MFA in Sculpture and in Design (Ceramic and Glass) from Kala Bhavana, Visva-Bharati University and used his skills to transport visitors to the depths of nature.
The artist uses mediums such as clay, ceramics, and wood to bring the viewer closer to nature. However, according to Bishwajit, the medium does not really matter to him—his passion lies in his message.
"Every forest is important to me because I would disappear if the ecology of these places changed," shared Bishwajit.
Bishwajit always knew he wanted to make a statement about Sundarban, and the message he wanted to convey came effortlessly to him.
"We might not be able to return all that we have already taken from Sundarban, but we can prevent further destruction. Haat Katali is my protest against the deforestation of forests," shared Bishwajit.
The exhibition combines history and culture through its art pieces and theme—dating way back to the times of the British.
"During the British colonial rule, it was ordered for trees to be cut down and let people settle there. People saw it as an opportunity and cleared the area by hand, which is called 'haat katali' in Khulna's local dialect. That is where the name of the exhibition comes from," shared Bishwajit.
Spanning across the wall are circles of clay with handprints on them. As you browse through them, you will find small cultural motifs or words like "bonbibi"—referring to the guardian of the forest.
This represents the handprints in cow dung, which is a fading practice. The handprints clearly visible in each piece ties in with the concept of 'Haat Katali'.
What is perhaps the most striking aspect of the exhibition is the pool of dirt in the middle of the gallery, where many, small rhinoceros sculptures are gathered.
When Bishwajit turns off all the lights and lets the warm spotlight shine, it looks like a herd of rhinoceros in the midst of migration in the late afternoon light.
Every part of this piece was intentional. In fact, Bishwajit has a special fondness for the late-afternoon light which is why he tried to replicate it in the gallery.
