Colours of dreams paint real-life aspirations

An unspoken lively dialogue between tradition and modernity it looks like in an art carnival portraying real-life aspirations in paint-and-brush works. The very theme of the show --'Hridoyer Ronge Shopno Saje' -- is self-explanatory. With over seventy Bangladeshi painters participating, the exhibition was arranged in Dhaka's Safiuddin Shilpalay few days back by North Canvas Bangladesh.

Two guest artists, Tarun Ghosh and Alauddin Ahmed, joined the exhibition along with several others, including Alley Khan, Ajit Datta, Chandra Shakher Roy, Emon Ali, Mishkatul Zannat, Rahima Afroz and Siddikur Rahman. It turned into an art pageantry, greatly drawing attention of art connoisseurs.

Alley Khan's mixed-media painting 'Trap 3' shows a fish decorated with both oriental and modern patterns. Ajit Datta's acrylic work 'Bengali Culture' presents a lively scene of a group singing in an open field while playing traditional instruments like the harmonium, dhol (drums) and ektara.

Emon Ali displayed a metal sculpture titled Control of Motion, shaped with lines that form a human figure. Mishkatul Zannat's watercolor piece Bihangam captures a bird catching fish.

Yet, as an art critic, two distinct viewpoints emerge to this scribe from a firsthand experience. The critiques are as follows:

On the one hand, the exhibition deserves praise for its ambition and scope. It brought under one roof masters of the brush whose works carried both aesthetic richness and deep thought. Their paintings stood as reminders of how Bangladeshi art can remain rooted in heritage while still embracing new, modern approaches.

On the other hand, certain aspects leave room for improvement. The curation felt somewhat unstructured, as though the placement of works lacked the guiding hand of an experienced curator. This looseness occasionally disrupted the flow of the exhibition, leaving visitors to wander without a clear narrative.

The exhibition catalogue, too, fell short of expectations. While it aimed to provide a summary of the artists and their works, the design and presentation did not capture the essence or elegance that such an ambitious showcase demanded.

Moreover, while many works reflected maturity and depth, some pieces seemed amateurish, falling short in terms of aesthetic execution. These inconsistencies made the overall experience uneven-like listening to a symphony where a few notes were out of tune.

Still, 'Hridoyer Ronge Shopno Saje' remains an important reminder of the power of collective expression. The expo reflects the vitality of Bangladeshi art today-its traditions, its modern experiments, and its ability to stir both pride and debate among viewers. And perhaps that, too, is the mark of a meaningful exhibition: one that leaves the audience with not just admiration, but also questions to ponder over.

Irina is an art critic and former student, Faculty of Fine Arts, the University of Dhaka