The second part of the anniversary exhibitions being hosted by Bengal Gallery of Fine Arts, Rooted Creativity 2, is an exhibition of versatile renditions and amusing perceptions, or rather, a cross of characters of opposite beliefs, blending into an exposition of realisation, flashback, or the reinventing of the reiterative self into a format of creative campaign; for the viewer, an optical journey of various boundaries of sensation. The exposition is a journey of intricate chaos of the creative spirit and again an introduction of various styles and limitations.

   To start with, the paintings of Samarjit Roy are like visual planes cracked and dissected into planes of stained-glass hard edges. The illusion of cracks, rendered with lines, gives the viewers a multilayered dimension in a flat surface. The geometric build up of simple forms contrast with subtle layers of colour, creating an environment of thread-woven stitches of visual incidence. A Paul Klee-like compositional theme is visible in the works titled ‘Village Silhouette’, ‘Essence of Harmony’ etc.

   In contrast, Abdul Muqtadir creates harmonic visuals in his impressionistic paintings of untitled canvases. His colours and the use of singular objectives of forms, create a personal psychological presence.

   Kalidas Karmakar, a painter of artistic attitude and theatrical gesture, creates his ‘Alluvial Black’ with different tactile intensity and certain ornamentation of physical objects on to the pictorial planes. He also uses symbolic statements to explore his spiritual aspirations.

   Shahid Kabir’s works are like wounded surfaces or emotional nostalgic resonances. His painting titled ‘Slum Queen Nargis’ is a very intimate portraiture of human sensitivity and expression through the use of fluid ink on paper and green tints of a snake-like female form that has a gesture of sensual intimacy.

   Abdus Shakoor with his folk art motifs and the faces of Kamala, with squares and vibrant flat colours is repetitive and decorative in his depictions, with little bits of collage add on’s and colourful match -making.

   Kazi Ghiyasuddin is an artist of the world of specs. His compositions are filled with particles of dust and the creation of composites of elements creates forms such as land, its patterns as marks of its character and collected elements through time.

   The artist of fairy tales, Farida Zaman, with her internal characters, flees to the space of female aura and colourful ecstasy, giving the viewers stories of innocence, joy and fantasy.

   Mohammad Eunus, a dramatic abstractionist with playful ways, creates tortured canvases of overlapping paints and penetrating transparencies of layers, with surfaces of disintegration and the subtlety of visual dialogues of unexplained emotions. He uses layouts of lines with a primitive attitude to give a literary expression to his work. The painting titled ‘Bisram’ is a symbolic interpretation, where the chairs with wheels are like moving objects taking rest.

   Rokeya Sultana is an artist of erotic sensuality and washes of thoughts and sensations merging on the canvas space. The melting and merging creates its own destiny through time and accident. She lets her pigments take their own course and from that natural saturation, she identifies her expressions and modes. Her secondary addition of line gives her spontaneous renderings a sense of structure and objectivity, or creates a story line. In the work titled ‘Bathing’, the built up surface and the line on top creates a visual contrast.

   The conceptualist Dhali Al Mamun’s drawing titled ‘Drawing 1’ is almost like a past time expression of stuffed elements, still together and stored. It can signify a lot of hypothetical aspects but as a pictorial expression, it fails to connect. The charcoal drawing of shoes, ‘Drawing 2’, together, in various movements, expresses directly the impact of the over-compressed and jam-packed life of the contemporary world, but only if one wants to perceive it as that. The title by the artist should have made that evident, but he kept it inertly conceptual in his own way.

   The exhibition began on May 18 and concludes on May 29.

by javed jalil                                                                   source: daily star