Using folk motifs with flamboyance
Uttam had apparently used the well-known Abdus Shakoor's folk art themes, but had added numerous variations of his own to the best of his ability. At one stage his painting became his own, as his vision is not quite romantic nor untrammeled as that of Abdus Shakoor. Using imagination and talent, with his somewhat pessimistic view, his creations, using a medley of motifs with scintillating colours were Uttam's own. Lyricism and grace was seen on every acrylic on canvas work. The colours were buoyant and even flamboyant at times.
It is known that young artists sometimes imitate older, more experienced and better established artists. Uttam's is such a case and his samples of painting appeal to the foreign viewers, going by the turnout at the Gulshan gallery, on the second day of the Bangla New Year. As typically Bangladeshi pithas and folk music had been included in the backdrop of the opening event, along with piping hot café au lait, it was altogether a pleasant evening from the onlookers from overseas, as one gathered from the flow of visitors from 3pm to 10 at night.
For all latest news, follow The Daily Star's Google News channel. The artist himself, said at the opening, that in his painting ventures he was influenced by the famous Indian artist Subramanium, and not Abdus Shakoor, as Bangladeshi viewers would put it.
In one of Uttam's acrylic on canvas assails, one found a dark damsel with dark, flowing hair which appeared like some poet's dream. Her facial features bore the oriental art dictates. She had donned a polka dotted sari, and her ears, neck, left arm and accompanying wrist had gold and red jewelry, matching with the border and motifs in her apparel. She bore a green and red typically Bengali cloth fan done in green, red and yellow with white motifs. On her shoulder was an emerald peacock with a swirling snake in its beak. The turquoise backdrop was studded with innumerable gold and white dots.
In another such vibrant piece, he had a typically romantic couple from a Bangladeshi village. Both of them had black and turquoise hair, the man's being straight while the woman's wavy. The man had on a coloured vest, a gold amulet at the throat and he carried a flute, done in pale yellow ochre and white. Birds were seen sitting and veering around his head. The woman bore white embellishment on the ear and nose. Blurred Bengali calligraphy, in yellow and gray, offset by a yellow background appeared on a bar below. A variation of royal blue appeared on the geometrical frame that held the amorous portrayal. This was just as picturesque as the earlier mentioned effort.
A romantic delineation was found in yet another acrylic on canvas piece. This had an exotic looking lady in variations of green, black, blue and gold, smelling a red lotus, held by a purple swirling snake. This basic image was held on a large vermilion disc. The central geometrical red and green motif had two white and blue preening peacock and peahen--complete with purple combs. At the base had been placed a royal blue lotus bud and two emerald elephants with white curling tusks, black and gold painted hind legs, and a hawdah, done in red, white and blue. More white and yellow ochre embellishments formed the setting for the background.
One came away from the exhibition, with admiration for his earlier efforts, displayed in the adjoining back rooms of the gallery, rather than the bold new feats with their more vibrant colours intermingling with innumerable motifs.