Hawabibi unveiled
Artist Shaily Shrabonti combines her love of mythology and her commentary on women’s rights in an empowering exhibition
As the sound of the piano drifted from the cafeteria of Alliance Française de Dhaka and spilt into La Galerie, it felt like the figures on the canvases came to life–with each dressed in veils.
As tranquil as the setting sounds, the message of the art is quite the opposite.
Artist Shaily Shrabonti combines her love of mythology and her commentary on women's rights in an empowering exhibition titled 'Hawabibi In This City'. The exhibition kicked off on 25 August and will come to a close on 3 September.
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Shrabonti shared that her works are inspired by her deep interest in mythology, shaping her art style. She uses mythology to explore modern societal issues. Hawabibi is a modern mythical figure who shares a thematic parallel to Eve and her story of the forbidden fruit.
However, her art reimagines this mythical figure in modern times, where mankind has progressed, yet women's struggles remain the same: being subject to the excessive weight of shame, conservatism and lack of autonomy.
Ashfiya, a visitor, shared how the art resonated with her experience of being a woman in Bangladesh.
"The tiny eyes incorporated in almost every painting remind me of the scrutinising gaze of society; waiting to criticise, to blame and to gauge for any signs of weakness. Despite all of this, Hawa stands tall, an unwavering and determined woman ready to claim her share of respect," said Ashfiya.
The artist explores this powerful theme through a range of techniques and materials, including watercolour washes, acrylics, pen, and clay, across 45–47 mixed-media works. By weaving together so many mediums, she captures the spectrum of emotions tied to womanhood—from harrowing fear to unyielding resilience.
"When I was studying Oriental Art, I was encouraged to channel my personal experiences, culture, and values into my work. Since childhood, I've been drawn to mythology, and that passion inspired me to reimagine how Hawabibi might exist in today's world—and how she continues to struggle against the same restrictive norms and values that once sought to silence her," explained Shrabonti.
Moreover, Hawabibi, in her signature burqa, is holding onto an apple. For aeons, the apple has stood as the symbol of the "first sin", and almost every piece portrays this burden of the "first sin". It is a lingering pressure that all women must repent for, and in certain art pieces, it was almost as if that tiny apple was crushing Hawa beneath its weight.
However, her depiction of Hawabibi is not of a frail woman who has to put on a veil out of weakness. She is a strong figure who is at the centre of every composition and doesn't waver, no matter the circumstance. Hawabibi is the origin of all nature, and everything revolves around her; both the good and the bad.
Shrabonti concluded, saying, "I have made these paintings so that when people see them, it impels them to think about the experiences of women in this society. Hopefully, it will help them be more compassionate and kind so that women don't have to feel scared every time they walk down the streets."
TBS Picks:
Hawabibi In This City-43
Medium: Mixed media
Inspired by her own interest towards playing chess, this painting portrays how women often get trapped in a back-and-forth with a system that does not seek their best interests. No matter what move they make, the system keeps failing them. They are tested and made to lose at every turn.
Hawabibi In This City-31
Medium: Watercolour wash on brown paper
This painting is a stunning portrayal of female strength across different religions. Women were worshipped as divine figures and held in the highest of respect; those same women are now perpetually dismissed, neglected and taken advantage of constantly. At its core, both Durga and Hawabibi stand as symbols for strength and greatness, no matter the adversity.
Hawabibi In This City-42
Medium: Watercolour wash
Unlike the earlier works with their darker, more intense palettes, this painting softens Hawabibi's image and renders her with a hopeful gaze. She is shown gliding freely across a serene blue sky, surrounded by flowers, and for the first time, she appears truly joyful and at peace.
This moment of optimism crystallises the artist's intention: to evoke compassion and kindness towards women.
