Idylls in water-colour

(top) Sound of solitude -5 and (bottom) Countryside -3

Russell's experiences had always been positive, specially, when he went with Hamiduzzaman, as he got careful and subtle guidance and encouragement from the master sculptor.

Asked why he preferred water-colour, Russell said that he felt most confident in this medium, it was relatively inexpensive as he bought his paintings, brushes and hand made paper from Kolkata, or got them from patrons and friends. He added that all one requires is a mug of water and the necessary art equipment to paint; moreover, as he paints with a quicksilver touch, at his home and in his department, he gets the encouragement of onlookers. Out of 33 entries, half had been quickly lapped up and Russell was confident of further sale by patrons. Some black and white water-colours had also been included in his solo which looked more mature and more difficult to accomplish. As one knows, bold and black impact is more dramatic and effective -- going by comments of overseas artists, as from Japan and France. The solo includes landscapes on Nijumdeep and the rest are on Bandarban, Gahgrachori and other hilly areas. There are also paintings of old houses and ruins, as in old Dhaka and Panamnagar, as Russell recounts.

Dwelling on his favourite landscape pieces, Russell said that his experience in Bandarban had been most fruitful. He said that the spots brought in most elements of landscape, such as hills, beautiful clear sky, flowing rivers and the locals being included in that scenario. "The elements are changeable, along with the fluctuating background scene. Today I'm doing black-and-white landscapes, such as the one of mangrove forests," says Russell. His basic guides are Nisar Hussain and Shishir Bhattacharya, at the Fine Arts Dept, Dhaka University (DU). "Both comprehend the subject in depth and take endless pains to instruct and guide me," he says.

In Russell's Countryside 3, one found soft impressions in the backdrop of trees in yellow-ochre, different shades of jade and emerald, along with tree trunks in decisive jet-black strokes. The paper, the base had been left untouched to lend space.

The people included were seen in scintillating but delicate Impressionistic hues. The hut, the subject was also lyric and carefully composed within the composition. The one on the mangrove forest was nearly as thought-provoking as some of the parallel entries by much more senior artists seen earlier, at Chitrak.