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Agony and ecstasy

27 November 2005, 18:00 PM
LIFESTYLE
By Fayza Haq
27 November 2005, 18:00 PM
A selection of Nagarbashi¿s work
In Nagarbashi Barman's solo exhibition, which opened at Gallery Kaya on November 25, one saw a veritable feast of etchings, aquatints, drawings, woodcuts and lithographs. He had his initial training in Rajshahi and later in 2003, he went to Biswabharati, India, for further training. Patronised by Gautam Chakravarty, a painter of repute since the early 70s, Nagarbashi has depicted the agony and ecstasy of life in his paintings. Examining his detailed perception of life, one is amazed at his observation and power as a print-maker. He brings in subjects like fish, fishing tools and boats. Born and reared on the banks of the Buriganga River, he has attempted to create an ambiance that shuffles the lives of Bangladeshi fishermen. A finalist in his academic career, he is no publicity seeker. His uses pen, pastel, etching and aquatints for his prints. His dexterity, training and perception present a kaleidoscope of numerous prints in soft, earthy, and mind-whirling creations. The lyrical and harsh nature of life have been juxtaposed with subtlety and drive. The result is a superb display of both realism and romanticism.

In Trap-III, a pen and ink with pastel work, one can see the figure of a man. The image of a tortured man, perhaps found in some construction work, complete with hands, is made from a depiction of fishermen's nailed anchors. Boats and other elements from life on the river Buriganga have been carefully amalgamated to create an image of toiling men and the struggling lives of fishermen and their families. With a backdrop of light burnt-sienna, the dark images have been created with perfection.

The artist's Despair-1, a mixed-media of etching and aquatint, sees the same balance of images and colours. There is the skull of a fish (and it could be reckoned as that of a man) seen floating with spears embedded on the head and above. The other water life-forms include waving sea-weeds and other flora. There is a nail on a bar of hard woodwork on the top of the composition. From the life of fishermen-III, a pen and ink print with pastel, once again brings in the seamy side of life, which is juxtaposed with wickerwork boat hoods and a hanging basket. Harsh images, such as that of the claw-like end of a harpoon, more boats and other reflections of tall structures on the water, have all been included in the print.

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From the life of fishermen-II, etching and aquatint, brings in the most gentle effect on the mind of the viewer. Floating fish of the same size form a circle in the centre. Helms and paddles as well as differently tinted sails and nails add the darker frame of the composition. From the life of fishermen is also a poised and balanced creation, with fish bones in a somewhat semicircular presentation, along with the end of a harpoon.

The lasting impact is that of an in depth study of Bangladeshi fishermen. The exhibit is undoubtedly worth viewing.