Poignancy of pain

Kakoli says, "I've used acrylic on canvas and have here ten items. All the subjects of my work deal with nightmare. I want to state, what is felt by most people, that we are going through a terrible phase of existence at the present time. The focus is not just in Bangladesh but all over the world. I want that everybody is aware of the situation and hopes for better days, where war and conflicts will come to an end."

Asked why she had apparently repeated her subjects, Kakoli says, "The title are the same but these subjects are different if you note carefully as they deal with different incidents although I'm not narrating stories. Earlier in 2002 I had taken part in many group exhibitions and they too were subjects. In fact, when we were allowed to experiment on our own in our Masters stage, I dealt with apparent abstract though I brought in recognizable forms in my composition. I've just completed my Masters and believe that many thinking viewers do appreciate my work and by this I mean the intellectuals and artists and not just art collectors who go by the name or the obvious visual appeal. It is true that I'd like buyers to take my work but that's not my priority. My main concern is to express my feelings and perceptions. So far I've earlier worked with two themes: reminiscence and nightmare."

In one of her works you see a face that might be that of a child and below it are splashes of red and yellow and circling the head are black and mauve. On top, at the back, for balance some brown and pink. "I've used the colours to evoke the present evil and uncertain days in Iraq and also the dangers that young ones face in the form of accidents and kidnapping. I want to show that an entire side of the child's face has been badly affected. The new element in my painting is the use of spots which I've done with fingers and they stand for dark spots that are coming over our society so that it is no longer a healthy one. When one goes through bad phases, one has tension and this often gives rise to spots on the skin and these spots also stand for this feeling of insecurity. These marks have also been used to render harmony to the composition. These have often been sued by chalk and pastel. The other scattered lines are often done with acrylic in green, blue and red as you see in 'Nightmare-38'."

She continues, "If you move on to 'Nightmare-32', acrylic on canvas, you see four gray and black faces in the background. They are touched with blue and red. One gets the feeling that the figures are in torment. At the side is a figure with some parts of the body being apparent and some sections missing. The large use of red to bring in fear. This is a depiction of gang rape of a young woman which appeared in many local newspapers. Everyday, as you read the newspapers you realize that someone or the other is being killed or raped and this condemning situation is what I have held up the mirror to in my canvases."

Reaz, talking about his installation works, some of which were sculpture work on their own, he said, "I went into the sculpture department even though it is difficult to obtain good wood and to work on them without disturbing the neighbours. Again, selling the items is difficult as they are abstract and we are not as progressive as in the west. In 'Internal victim' one sees space in between two sections of wood with sharp, large nails in between the planks which are crisscrossed and carved. Smaller nails are stuck partially to them. On one side of the plank is the figure of a man which has been burnt on. The wood is complete with grinding. In another of my work are three planks of wood, two being placed at the bottom and two standing vertical. Between the blue painted woods you note the nails, on all sides and intermingling with each other. They stand on a box of wires and nails. This is called 'Infected terrorism'. The horror and pain are obvious.

Both the artists have won several local awards, have taken part in major group exhibitions and workshops, while Kakoli has had a solo of her own in 1998.