Art has always been a medium of self-expression and cultural storytelling, and as an artist hailing from a developing country, my inspiration often draws from the world around me—its struggles, triumphs, and traditions. Today, I want to introduce one of my favorite contemporary artists, El Anatsui, a visionary sculptor whose works have left an indelible mark on the global art scene. My discovery of his art at the 2019 Venice Biennale was transformative, sparking ideas that connect deeply to my own cultural heritage and artistic practices.

Discovering El Anatsui

El Anatsui is a Ghanaian sculptor celebrated for his innovative use of discarded materials to create breathtaking works of art that transcend categories. Born in 1944 in Anyako, Ghana, he has spent much of his illustrious career in Nigeria, where he teaches and creates in studios based in Nsukka, Enugu, and Tema. Anatsui’s ability to transform everyday materials, like bottle caps and cassava graters, into monumental sculptures that explore themes of colonialism, consumption, and environment is unparalleled. His works are a testament to the power of transformation—both of materials and of perspective.

When I first encountered his shimmering metal sculptures at the Venice Biennale, I was struck by their immense scale and the stories they seemed to whisper. They spoke of history, resilience, and interconnectedness—values that resonated with me as I reflected on my upbringing in Chittagong, a coastal region with its own rich tapestry of traditions and challenges.

A Personal Connection to His Work

Growing up in a small village in Chittagong, I was surrounded by vibrant traditions tied to the sea. Fishing is a way of life here, and women in my community weave fishing nets to support their families. My personal inclination, however, leaned toward knitting and stitching, crafts that I found meditative and expressive. The idea of reusing materials, creating something beautiful out of the discarded, always intrigued me.

Inspired by Anatsui’s use of recycled objects, I began collecting discarded cans from roadsides and pathways. I cut and shaped these cans to create a colorful curtain, much like the shimmering metallic tapestries that define his work. This process felt deeply fulfilling—it was as though I was weaving not just materials, but stories, memories, and a sense of place into the fabric of my art.

The Legacy of El Anatsui

El Anatsui’s journey as an artist is as inspiring as his works. Born to a family of weavers, he grew up with an innate understanding of the power of textiles and patterns. After studying at the Kwame Nkrumah University of Science and Technology, he embarked on a teaching career at the University of Nigeria, Nsukka. Here, he became a central figure in the Nsukka Group, a collective focused on integrating traditional African art forms, such as Uli and Nsibidi, into contemporary expressions.

His exploration of discarded materials began as a commentary on waste and the environment but evolved into something much larger. By using bottle caps and other remnants of consumer culture, Anatsui creates pieces that challenge viewers to consider the histories and identities embedded within these objects. These materials, imbued with the touch of countless hands, bring their own stories to his works, which can interrogate colonial histories or celebrate communal resilience.

Lessons for My Own Practice

What sets Anatsui apart is his approach to art as a fluid, ever-changing process. His sculptures, though intricate and labor-intensive, remain flexible and adaptable. He encourages curators to reshape and reinterpret his works with each installation, reflecting the mutable nature of human experiences.

This openness inspires me to embrace imperfection and fluidity in my craft. Just as Anatsui’s installations take on new forms with each exhibition, my art evolves as it engages with different spaces and audiences. His practice also reinforces my belief that art can bridge the personal and the universal. Through my own use of recycled materials, I strive to tell stories that are deeply rooted in my culture yet resonate beyond borders.

The Cultural and Environmental Impact

El Anatsui’s influence extends far beyond the art world. His works are housed in prestigious collections, from the British Museum to the Smithsonian Institution, and he has received numerous accolades, including the Golden Lion for Lifetime Achievement at the Venice Biennale in 2015. More importantly, his art challenges us to rethink our relationship with materials, consumption, and waste.

As an artist from a developing country, this message is particularly poignant. In regions like mine, where resources are scarce and waste often accumulates unchecked, finding beauty and meaning in discarded objects feels both urgent and empowering. Anatsui’s works remind us that recycling isn’t just an environmental act—it’s a form of storytelling and cultural preservation.

Conclusion

El Anatsui’s journey from a small Ghanaian town to international acclaim is a powerful reminder of the transformative power of art. His ability to turn discarded materials into awe-inspiring sculptures speaks to the resilience of the human spirit and the boundless possibilities of creativity. For me, his influence has been profound, inspiring not only my choice of materials but also the themes and values that underpin my work.

As I continue to explore my own artistic voice, I remain deeply grateful to El Anatsui for paving the way and showing that even the humblest materials can hold immense power and beauty. His art is a call to action—a reminder that, no matter where we come from, we can create works that speak to the world while staying true to our roots.

First Encounter with Rainer Oldendorf : A Meeting of Cultures

I first met Rainer Oldendorf during a two-month residency program at ISBA in France. Coming from Bangladesh, I was excited yet nervous about immersing myself in a new environment. On our first meeting, when I mentioned my Bangladeshi roots, Rainer immediately connected with me by talking about a Bangladeshi filmmaker he admired. He even took me to the library and showed me a book about this filmmaker, who I was not yet familiar with. This gesture of cultural exchange made me feel welcomed and set the tone for our future interactions.

Becoming His Student: A World of Opportunities

A few months later, I officially became Rainer Oldendorf’s student at ISBA. Under his guidance, I participated in various art projects and exhibitions, each one offering a new learning experience. One of the most memorable was a study tour to the Folkwang Museum in Essen on April 13, 2019. I visited this exhibition with Rainer and two Erasmus students, which expanded my understanding of contemporary art in a way that only firsthand experience can provide.

In July of that year, I had the opportunity to work on a filmmaking project titled “Marco 14” in Vienna. Alongside Rainer, ISBA students, and Erasmus students, we spent a week in Vienna exploring the intersection of video art and narrative storytelling. This experience piqued my interest in video art and deepened my appreciation for Rainer’s approach to merging different media in his work.

The HIVE Workshop: A Collaborative Endeavor

From the beginning of 2022 to the end of 2023, I had the privilege of being involved in the HIVE creative research workshop, organized by Rainer. This workshop was a unique initiative aimed at fostering collaboration among students, artists, and cultural institutions. We visited museums, cultural sites, exhibitions, and artists’ studios, each visit offering new perspectives on art and creativity.

One particular highlight was the exhibition and film project in Germany in March 2022. I had the chance to collaborate with prominent artists like Patrick Neu, Carl Emanuel Wolff, Pierre Soignon, Maike Aden, and Frédéric Lormeau. These experiences enriched my understanding of how art can transcend cultural and geographical boundaries, and how it can be a powerful tool for storytelling and social commentary.

A Personal Connection: The Emotional Journey

Beyond the academic and professional interactions, my relationship with Rainer Oldendorf also developed on a personal level. In January 2022, I, along with three other ISBA students, assisted him in moving the furniture from his parents’ apartment. This task was deeply emotional for Rainer, as it involved parting with memories and collections that held significant sentimental value. Witnessing his vulnerability and the importance he placed on personal history provided me with a deeper understanding of the emotional connections that underpin much of his work.

Exploring New Horizons: The Final Chapter

My journey with Rainer culminated in a visit to Bauhaus University and the House of Goethe in Weimar, followed by a trip to Dresden in July 2023. These visits, rich in historical and cultural significance, were the perfect conclusion to my time with him. They encapsulated everything I had learned from Rainer: the importance of history, the power of storytelling, and the endless possibilities of creative exploration.

Reflecting on His Influence and Legacy

Rainer Oldendorf is not just an exceptional educator; he is an influential artist whose work spans various media, including sculpture, film, photography, and teaching. Born on October 28, 1961, in Lüchow, Germany, Rainer’s artistic journey has taken him across multiple countries, establishing a strong presence in places like Besançon, Lörrach, Paris, and Porspoder. His work is characterized by a deep exploration of personal, social, and political history, often reflecting on the contexts in which his pieces are created.

Rainer’s artistic philosophy revolves around the idea of transforming the public space into a private one, blending reality with fiction, and exploring the delicate line between photography and film. His approach is holistic, involving the communities he engages with and inviting spectators to become active participants in the narrative. This is evident in his numerous solo and group exhibitions across Europe, where his work has been showcased in prestigious venues like Fundació Antoni Tàpies in Barcelona, Kunstverein in Bonn, and documenta 14 in Athens and Kassel.

His exhibitions, such as “Wie ich lebe und warum” at Galerie du Granit in Belfort (2019), and “Grammaire au service de la disparition” at Ecole Régionale des Beaux-Arts in Valence (2006), are testament to his ability to provoke thought and evoke emotion through his art. Rainer’s work often challenges conventional boundaries, encouraging viewers to question their perceptions of space, time, and memory.

As Nuria Enguita Mayo insightfully observed, Rainer’s art is “an exercise that shifts the public space to the private one, the real space to a fictitious one, between photography and film.” This duality in his work is what makes his art so compelling and relevant in today’s world, where the lines between reality and fiction are increasingly blurred.

Having had the privilege of learning from him, I can confidently say that Rainer Oldendorf has not only shaped my artistic practice but also broadened my worldview. His teachings have inspired me to continue exploring the intersections of different media and to always remain curious about the world around me.

In conclusion, my time with Rainer Oldendorf has been transformative. He is not just a teacher, but a mentor and guide who has opened doors to new opportunities and ways of thinking. His influence will undoubtedly continue to shape my artistic journey for years to come.

In April 2019, my journey with the renowned sculptor Carl Emanuel Wolff began. This serendipitous encounter occurred during a study tour to Essen, Germany, organized by Rainer Oldendorf. Alongside two Erasmus students, we had the privilege of lodging at Professor Wolff’s apartment. Our stay was memorable not just for the hospitality but also for the enriching artistic discussions that took place over dinner, prepared by Wolff himself. His apartment was a treasure trove of art, reflecting his diverse tastes and deep appreciation for the creative process.

The Dresden Experience: From Student to Sculptor

Motivated by this initial meeting, I eagerly pursued an Erasmus program at the Academy of Fine Arts Dresden (HFBK), hoping to learn under Wolff’s guidance. From October 2020 to March 2021, I immersed myself in the vibrant artistic community of Dresden, where Wolff’s influence was palpable. Despite initial nerves, I found Wolff and my classmates to be welcoming and supportive. Our first official meeting was marked by yet another communal dinner, underscoring Wolff’s belief in the power of shared experiences.

Learning Amidst a Pandemic: Challenges and Opportunities

The global pandemic cast a shadow over my time in Dresden, limiting opportunities to participate in exhibitions and collaborative projects. However, this period of isolation also allowed for deep reflection and focused studio work. Wolff’s guidance was invaluable during this time, as he encouraged us to explore the intersections of art and reality, challenging conventional boundaries.

An Unexpected Reunion: March 2022 Exhibition and Film Project

Fortune smiled upon me again in March 2022 when I participated in an exhibition and film project in Germany, organized by Rainer Oldendorf. This project brought together a diverse group of artists, including Patrick Neu, Pierre Soignon, Maike Aden, Frédéric Lormeau, and of course, Carl Emanuel Wolff. This collaboration was a testament to Wolff’s enduring influence and the far-reaching impact of his mentorship.

Carl Emanuel Wolff: A Life Dedicated to Art

Carl Emanuel Wolff was born in Essen, Germany, in 1957. He studied at the Düsseldorfer Kunstakademie under G. Graubner and has since established himself as a significant figure in the contemporary art world. His career includes notable teaching positions, such as a visiting professorship at the Academy of Fine Arts in Braunschweig (1992–1995) and a professorship at the Academy of Fine Arts in Dresden from 2000. Wolff’s work has been showcased in numerous prestigious exhibitions worldwide, from solo shows at the Lehmbruck Museum in Duisburg to group exhibitions in Miami, Shanghai, and Moscow.

Artistic Philosophy and Contributions

Wolff’s sculptures and installations delve into the ideological and factual aspects of contemporary art. His work often interrogates the boundaries between art and life, presenting everyday objects and scenarios in ways that challenge viewers’ perceptions. As Prof. Dr. Karin Stempel eloquently noted, Wolff’s creations compel the viewer to complete the artwork through engagement and contemplation, dissolving the arbitrary demarcations between art and reality.

One of his notable projects involved bronze sculptures of wild boars in Ehrenfriedersdorf. These life-size pieces, placed without pedestals, blend seamlessly into their environment, embodying Wolff’s philosophy of integrating art with everyday experiences. The sculptures, dynamically carved and patinated, pay homage to the local legend of wild boars discovering mineral ore, merging historical narrative with contemporary artistic expression.

“Different things are an image. Sports, fables, cigars, salad, meat – whatever – can be added. While studying we question the assertion of ‘art’ and also the assertion of ‘reality’.”
Prof. Carl Emanuel Wolff.

Reflections on Mentorship and Influence

Working under Carl Emanuel Wolff has been a transformative experience. His approach to art, characterized by a profound questioning of reality and a commitment to pushing artistic boundaries, has deeply influenced my own creative journey. Wolff is not only a remarkable artist but also a generous mentor who fosters a collaborative and inclusive environment. His ability to combine intellectual rigor with a genuine warmth and openness makes him an exceptional figure in the art world.

As I continue my artistic pursuits, the lessons learned from Carl Emanuel Wolff remain a guiding force, inspiring me to explore, question, and create with authenticity and passion.

On December 16, 2020, a tragic event in Bangladesh profoundly impacted my artistic work: the rape and murder of a young woman during the Victory Day celebrations. This day, meant to symbolize freedom and victory, reveals the cruel irony of the condition of women in our society. If even on this festive day, women are not safe, what meaning does our victory hold? The brutality of sexual assaults and murders of women is omnipresent in the media, but rarely followed by justice. Too often, the victims are blamed for their own misfortunes because of their clothing or appearance.

Jewellery: Beauty and Stigma

Women love to wear jewelry to feel beautiful and express themselves. However, in many cultures, they are forced to give up these ornaments due to sexual harassment. Some people mistakenly think that women adorn themselves to attract men, forgetting that beauty and elegance can be acts of self-care and personal expression.

It is important to understand that not all women present themselves attractively to attract men. Even if some do it for a specific man, it doesn’t mean they are trying to attract all men. In public spaces like buses or markets, men do not hesitate to touch women’s private parts, which traumatizes many of them, pushing them to avoid going out. Many women are forced to veil themselves and wear burqas from a young age. Some families believe that marrying off girls early can prevent such incidents.

In the Indian subcontinent, jewellery also has economic significance for women. During weddings, they receive gold or silver jewellery, symbols of financial security for those who do not earn money.

The reinterpretation of jewellery by Art

Faced with these injustices, I designed a collection of jewelry made from screws, pins, nails, cans, and ceramics. These raw and sharp materials disrupt the traditional idea of jewelry as a mere beauty accessory, transforming it into a tool of defense. These pieces are not just pretty; they are armor. Through my artistic work, I suggest that jewellery should not only be ornaments but also instruments of protection, providing both mental and physical security to women.

In my imagination, it is not the woman who protects her jewellery, but she wears jewellery to protect herself, to defend herself. No one touches her without her consent. No woman should have to stop doing what she loves; she should be able to wear the dress she wants. No one should force her to do something she doesn’t like or to marry before she is physically and mentally prepared.

Artistic Inspiration

My work is inspired by Christelle Familiari‘s sculpture, “La Panoplie de Défense,” and the contemporary jewellery of Karl Fritsch. At the FRAC Franche-Comté, I visited an exhibition where Familiari’s “La Panoplie de Défense, épaule droite,” made of cotton thread, synthetic beads, and porcelain spikes, particularly struck me with its blend of fragility and defensive form. These artists have inspired me to imagine a new form of jewellery, where the woman does not protect her jewellery, but protects herself with them.

Choosing Freedom: Your Right, Your Responsibility

Through “Safeguarding Jewellery,” I aim for every woman to freely choose what she wants to wear, without fear or judgment. I am not against religious clothing, but against the coercion and stigmatization of women for their clothing choices. No one should be forced to give up what they like, nor should they be accused for their appearance. My art is a call to defend and protect women, to allow them to express themselves freely, and to punish the true perpetrators of violence and injustice.

On December 16, 2020, a tragic event in Bangladesh profoundly impacted my artistic work: the rape and murder of a young woman during the Victory Day celebrations. This day, meant to symbolize freedom and victory, reveals the cruel irony of the condition of women in our society. If even on this festive day, women are not safe, what meaning does our victory hold? The brutality of sexual assaults and murders of women is omnipresent in the media, but rarely followed by justice. Too often, the victims are blamed for their own misfortunes because of their clothing or appearance.

Jewellery: Beauty and Stigma

Women love to wear jewelry to feel beautiful and express themselves. However, in many cultures, they are forced to give up these ornaments due to sexual harassment. Some people mistakenly think that women adorn themselves to attract men, forgetting that beauty and elegance can be acts of self-care and personal expression.

It is important to understand that not all women present themselves attractively to attract men. Even if some do it for a specific man, it doesn’t mean they are trying to attract all men. In public spaces like buses or markets, men do not hesitate to touch women’s private parts, which traumatizes many of them, pushing them to avoid going out. Many women are forced to veil themselves and wear burqas from a young age. Some families believe that marrying off girls early can prevent such incidents.

In the Indian subcontinent, jewellery also has economic significance for women. During weddings, they receive gold or silver jewellery, symbols of financial security for those who do not earn money.

The reinterpretation of jewellery by Art

Faced with these injustices, I designed a collection of jewelry made from screws, pins, nails, cans, and ceramics. These raw and sharp materials disrupt the traditional idea of jewelry as a mere beauty accessory, transforming it into a tool of defense. These pieces are not just pretty; they are armor. Through my artistic work, I suggest that jewellery should not only be ornaments but also instruments of protection, providing both mental and physical security to women.

In my imagination, it is not the woman who protects her jewellery, but she wears jewellery to protect herself, to defend herself. No one touches her without her consent. No woman should have to stop doing what she loves; she should be able to wear the dress she wants. No one should force her to do something she doesn’t like or to marry before she is physically and mentally prepared.

Artistic Inspiration

My work is inspired by Christelle Familiari‘s sculpture, “La Panoplie de Défense,” and the contemporary jewellery of Karl Fritsch. At the FRAC Franche-Comté, I visited an exhibition where Familiari’s “La Panoplie de Défense, épaule droite,” made of cotton thread, synthetic beads, and porcelain spikes, particularly struck me with its blend of fragility and defensive form. These artists have inspired me to imagine a new form of jewellery, where the woman does not protect her jewellery, but protects herself with them.

Choosing Freedom: Your Right, Your Responsibility

Through “Safeguarding Jewellery,” I aim for every woman to freely choose what she wants to wear, without fear or judgment. I am not against religious clothing, but against the coercion and stigmatization of women for their clothing choices. No one should be forced to give up what they like, nor should they be accused for their appearance. My art is a call to defend and protect women, to allow them to express themselves freely, and to punish the true perpetrators of violence and injustice.