Lines, leaves and liberation: Inside Biren Shome’s Stories of Memories
In his 14th solo exhibition, veteran artist Biren Shome proves that art is an ongoing process of self-discovery. By merging Eastern aesthetics with historical consciousness, he creates a visual diary that documents the eternal spirit of Bengal.
Even at an age when most artists settle into a comfortable, predictable rhythm, Biren Shome remains an inquisitive student of his craft. Approaching 80, the veteran painter's 14th solo exhibition, 'Stories of Memories', proves that his urge to experiment has only sharpened with time.
Organised by Shilpangan, the exhibition opened on 5 September at Gallery Illusions in Lalmatia's Block C and will run until 19 September.
Through watercolours, oils, prints, and drawings, Shome has carved out a highly distinct visual language. He does not just replicate what he sees. Instead, he uses a restrained mix of lines, colours, and textures to turn visible reality into a deeply personal emotional space. This transition is evident in his current exhibition, where direct realism gives way to a more ornamental, two-dimensional style rooted in Eastern aesthetics.
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This shift in perspective did not happen overnight. For 34 years, Shome worked at the National Herbarium. That long tenure trained his eye for the intricate details of leaves, flowers, and vines.
In 'Stories of Memories', flora and fauna transcend their literal meanings. The late artist Rashid Chowdhury once noted that Shome did not just look at a flower as a part of nature; he found the entire vastness of the natural world inside it.
His 34-year career at the National Herbarium fostered a sharp eye for plants and foliage. But in his recent pieces, these natural elements are no longer just physical objects; they become deeply personal symbols of memory and inner emotion.
"Most of my works here are recent, with the newest ones completed in 2026," Biren Shome explained of his creative process. "For that specific series, I created a special surface by mixing colours with a transparent medium. After laying down this base, I drew these images from my memories and nostalgia. Because of the medium's transparency, when I drew the lines, they did not dissolve or bleed into it; instead, they remained bold and clearly visible, just as they are."
But Shome's canvas is not limited to quiet nature. His roots are deeply political. From the 1966 Six-Point Movement to the 1971 Liberation War, he was out on the streets alongside fellow artists, painting banners and posters for mass protests. He even served as a designer for the exiled Bangladesh government's publications division. That underlying yearning for freedom and social justice still bleeds heavily into his modern work.
The artworks currently on display highlight the sheer variety of his techniques. In his 'Panam' series, Shome breathes new life into old architectural prints from 2014, blending digital sensibilities with contemporary textures. The result makes the ancient columns of Panam City and Ahsan Manzil feel like living remnants of history rather than dead brick and mortar.
Then there is his 'Black' series, where spontaneous strokes of gold and silver ballpoint pens and pastels cut across pitch-black backgrounds, bringing subjects like Bauls and the Liberation War to life with haunting precision. In his earlier etchings, he mastered fine lines, hatching, and cross-hatching to create mysterious interplays of light and shadow.
Now, he layers foliage over human faces or places solitary figures in nocturnal landscapes, quietly reflecting on decay, transformation, and the unbreakable bond between humanity and nature.
Beyond his paintbrush, Shome is a crucial custodian of the country's cultural history. His published books, detailing the evolution of Bangladeshi art and the specific role artists played during 1971, serve as invaluable historical documents. Through his meticulous research and writing, he essentially preserved the art history of his era for future generations.
Yet, despite his massive contributions to both the canvas and the national archive, he remains remarkably understated. The late poet Shamsur Rahman once described him as the quintessential artist — tireless, humble, and entirely uninterested in self-promotion.
That quiet humility is perhaps his greatest strength. He never chased the limelight, letting his relentless experimentation speak for itself. Looking at the pieces hanging inside Gallery Illusions, the viewer realises that for Shome, art has never been a static achievement. It is a lifelong, ongoing process of self-rediscovery, capturing the eternal essence of Bengal one deliberate line at a time.
TBS Picks
Panam Column - 3
Medium: Watercolour
This piece stands out in the Panam series, which draws heavily from the ancient architecture and designs of Panam City. The artist mimics the original red-brick texture of the historic walls to set a raw, earthy backdrop. On top of this, the imposing, strong posture of Saraswati commands attention, giving the painting a powerful and grounded presence.
Rendezvous - 2
Medium: Drawing
A standout piece from his 'Black' series, this drawing features a girl holding a flower, enveloped by Mother Nature. What makes it striking is the sparse but highly deliberate use of colour. Despite the canvas being dominated by stark black and white, these tiny splashes of pigment bring the entire frame to life, offering a unique and vibrant portrayal of the natural world.
Red Fantasy
Medium: Acrylic
The largest and most visually arresting piece in the exhibition, this bold, abstract canvas is an instant head-turner. The aggressive, unrestrained use of heavy red tones demands immediate attention and will undoubtedly hook anyone stepping into the gallery space.
