'Appointment' at Shilpangan

Faces by Abdus Shakoor

Despite the avant-garde approach of the artists, there was nothing so post-modern that shocked the senses. The artists had kept their cultural heritage in mind, as they leapt forward for the progressive outlook in the 90 items. The exhibit was the result of a five-day workshop, where the artists had exchanged views, and had worked at leisure.

While one marvels at Hamiduzaman Khan's subtle, dramatic lines and economic use of colours; one also delights in Ivy Zaman's collection of bronze masks which have leant serenity and magnificence to the display. So did the lyrical, buoyant lines by Javed Jalil, and the soft smudges used by Ranjid Das. Rashid Amin, seen so often as the angry young man, has contributed tranquility of the final effect of the display with his cascading, intertwining multicoloured, which reminds ones of some dancing odalisques or swaying trees. The buoyant squiggles and swirls by Anukul Mujumdar, and the muted pastel work by Iffat Ara, add further charm and mystery to the idyllic presentation of lines, colours and textures.

In 'Faces in poetry-1', Abdus Shakoor has two country women, confiding in each other. These gossiping women are done in indigo and purple, as the artist wishes to stress on the beauty of our Bengali women's dusky hues. This has a backdrop of rose pink, which contains snow fleck-like polka dots. The portraits are lined by geometrical gray, orange and pink buntings at one side. Another of Shakoor's paintings is a simple but dramatic portrait, against a flat jade-green, setting with the accoutrements done in black lines, with hints of peony pink, as also the facial details. These are balanced with two male figures at the side done with dark lines and hues.

Hamiduzzaman Khan's 'Primitive face' in acrylic and his other portraits continue his steady stream of painting, side by side with his other massive sculpture work, seen elsewhere. The minimal brush strokes speak of his power of perception which has taken a giant stride. Ivy Zaman's bronze Seated Buddha figures and 10 Faces of the common Dhakiite are equally dramatic and mind-stirring.

Ranjit Das's landscapes bring in the horizon, trees, houses, boats, fishing nets and the river in front in superb details just by touches, lines, curls and splashes of black and a handful of other harmonious hues. The minimising of lines and colours has given Ranjit more prowess than any of his works before, even the prizewinning ones.

Rashid Amin's 'Colour and harmony-1' has lines of green, orange and black against sweeps of beige and gentle pink. One could surmise human forms or elements of swaying nature. Green, royal-blue and orange sweeps and lines are found in his other painting. One is well aware of Rashid's penchant for presenting post-modern visions and techniques.

'Core of the kiss' by Javed Jalil present a sensuous embracing couple done in intermingling lines of dramatic black. In presenting the face, limbs and torso, Javed reminds one of the Renaissance and Pre-Raphaelite painters, with their eye for beautiful details. This is set in clouds of gold, pink and emerald. In 'When the soul begins to dance' Javed captures a woman's ecstatic. The tendril bearing the delicate leaves and buds, curls and twine in harmony with the rhapsody of the dance. Nature is seen in harmony with mankind. Both the figure and the flora have been highlighted with lyrical impact. The effect is subtle and muted.