A Glimpse into the PK Sen Bhaban

Constructed in the 1920s by Zamindar Prasanna Kumar Sen, the PK Sen Bhaban stands as a testament to Chittagong’s architectural legacy. The building’s unique design combines elements of subcontinental Hindu temples, Islamic motifs, and European Gothic influences. Though only four stories high, the dome and towering minarets add the illusion of seven stories, making it one of the tallest structures in Chittagong during the British era.

The building features wide windows, geometric ventilators, and hexagonal shapes that are rare in traditional South Asian architecture. It houses over 40 rooms and includes two grand staircases, further adding to its charm. PK Sen, a rice and oil trader with a generous spirit, envisioned this architectural masterpiece to reflect his stature and success.

The URONTO Residency Experience

In 2016, the URONTO team selected the PK Sen Bhaban for its fifth season of artistic exploration. This initiative brought together national and international artists who reimagined the essence of the building through various creative expressions. Participating artists included talents from India, Brazil, Hong Kong, and Bangladesh, along with students from the Chittagong Fine Art Institute.

What made this residency particularly unique was that the building was not abandoned. It still housed tenants, including members of the Ghosh family, the building’s current owners. This dynamic environment provided an extraordinary opportunity for artists to engage directly with the living history of the space.

The Legacy of PK Sen Bhaban

Beyond its architectural brilliance, the PK Sen Bhaban is a silent witness to the evolving history of Chittagong. During the Partition of 1947, PK Sen sold the building to Sadananda Ghosh, and subsequent years saw the structure endure significant trials, including damage during the Liberation War of 1971. The war left the building scarred, with broken windows, looted possessions, and a tragic loss for the Ghosh family.

Despite these adversities, the building continues to stand—a symbol of resilience. Its rich history, however, is overshadowed by decades of neglect. Crumbling plaster, broken staircases, and a lack of maintenance threaten its survival.

Challenges in Preservation

Efforts to preserve the PK Sen Bhaban have been sporadic and largely ineffective. While the Chattogram Development Authority recognizes the building’s cultural significance, bureaucratic hurdles and financial constraints have stalled any concrete steps toward restoration. The current owners, frustrated by the lack of support, even considered demolishing the structure to make way for new developments.

Urban planner Zarina Hossain and architect Huda Mohammed Faisal have highlighted the architectural rarity of the PK Sen Bhaban. Their advocacy underscores the need for immediate action to prevent the loss of this irreplaceable heritage site.

A Call for Action

The neglect of PK Sen Bhaban mirrors a broader issue: the undervaluation of heritage buildings in Bangladesh. These structures are not merely relics of the past; they are living connections to our history and identity. As I walked through the crisscrossing stairs and gazed at the intricate designs, I felt both pride and sorrow. Pride in the legacy of my city, and sorrow at the risk of losing it forever.

The government, local authorities, and heritage organizations must collaborate to restore and preserve the PK Sen Bhaban. Public awareness campaigns, grants for restoration, and inclusion in heritage tourism could breathe new life into this architectural gem. Initiatives like the URONTO residency play a vital role in reintroducing these spaces to the public, reminding us of their cultural and artistic value.

Conclusion

My visit to PK Sen Bhaban was a transformative experience. It deepened my appreciation for Chittagong’s heritage and reinforced the urgency of preserving it for future generations. The grandeur of the PK Sen Bhaban may have faded with time, but its spirit endures. It is a symbol of our city’s resilience and creativity—a legacy worth protecting.

Through collective effort and a renewed sense of responsibility, we can ensure that structures like PK Sen Bhaban remain standing, not as ruins of the past, but as proud monuments to our shared history.

A Legacy of Love and Inspiration

Throughout my life, my grandmother has been a guiding force, shaping both my personal and professional journey in profound ways. From my earliest memories, she was more than just a family member; she was a mentor, a storyteller, and a source of boundless inspiration. Her influence is evident in my artwork, particularly in a piece that stands as a tribute to her memory and the cherished moments we shared.

The Virgin in Flower: A Tribute in Paint

My painting, “The Virgin in Flower,” was created in November 2015, and it encapsulates the essence of my grandmother’s stories and the deep connection we had. This piece portrays a woman surrounded by vibrant flowers, rendered in a Western style. The inspiration behind this artwork comes from a childhood story my grandmother once told me about two sisters who lived in our village. One sister, Phool Kumari, whose name means “Flower Princess,” particularly resonated with me. Her character and the lush imagery of flowers she embodied became the foundation of this painting.

Women in mythological sagas often represent both nurturing kindness and the potential for formidable power. They are the custodians of life and harmony, symbolizing both beauty and strength. Through this painting, I sought to capture these dual aspects, blending them into a Western artistic approach while honoring the Eastern roots of the tale.

A Garden of Memories: The Symbolism of Flowers

Flowers hold a special place in my heart, largely due to the time I spent gardening with my grandmother. Our village home boasted a large garden where we would plant and tend to a myriad of blooms. Her love for gardening was infectious, and the time spent among the flowers became a cherished part of my childhood.

After her passing in 2018, one enduring symbol of her presence remained—the Jungle Flame flower we planted together. This plant, resilient and beautiful, continued to thrive and bloom, reminding us of her enduring spirit. The vibrant flowers it produced felt like a daily reminder of her love and presence, and they continue to bring beauty into our lives.

Crossing Continents: A Poetic Tribute

When I moved to France, the distance from my homeland and family left a void that was hard to fill. My grandmother’s absence was profoundly felt, and her memory became even more precious. At the beginning of 2020, I participated in a writing workshop with French writer Guy Boley at ISBA and Besançon Citadel. The workshop led us to write poems reflecting our personal experiences and emotions. In a moment of reflection, I wrote a poem that captures the essence of my longing for my grandmother and our old home.

“Il était une fois une porte”

Il était une fois
Elle a ouvert la porte
Les deux mains tremblaient
Elle avait peur, si quelqu’un la voir
Elle s’est arrêtée pour sa maison.

Il était une fois
Elle est sortie de la maison
Les pieds tremblaient
Elle avait peur si quelqu’un l’attrape
Elle s’est arrêtée pour ses enfants.

Il était une fois
Elle a marché toute seule dans la forêt
Le corps tremblant
Elle avait peur de se perdre
Elle s’est arrêtée pour sa famille.

Il était une fois
Elle a voulu voler
Le cœur tremblant
Elle avait peur de tomber
Un jour, elle est partie secrètement
Elle est partie pour toujours
Elle a vu sa maison, ses enfants, sa famille du ciel.

This poem reflects the profound sense of loss I felt and my deep connection to the home and family that defined my childhood. My grandmother was like home to me, embodying the warmth and comfort of early mornings spent together. She would rise before dawn to prepare tea and open the door to let in fresh air and sunlight, creating a sacred space of peace and warmth that I miss dearly.

A Continuing Legacy

Through “The Virgin in Flower” and the poem I wrote, I strive to honor my grandmother’s memory and the significant impact she had on my life. Each brushstroke and word is a tribute to the stories she shared, the love she gave, and the enduring presence she still holds in my heart. My art and writing are not just expressions of my personal journey but also a way to keep her spirit alive, bridging the gap between our past and present, and ensuring that her legacy continues to bloom in the canvas of my life.

In September 2018, I embarked on a new chapter in my artistic journey as a second-year student at the Institut des Beaux Arts de Besançon (ISBA). This experience marked a significant shift from the curriculum I had previously encountered at the Institute of Fine Arts of Chittagong, where I had completed both my Bachelor’s and Master’s degrees in Painting. The educational approach at ISBA was refreshingly different, fostering a curiosity that motivated me to explore new artistic possibilities. Eager to expand my knowledge and skills, I joined the drawing class of Géraldine Pastor Lloret, hopeful that I would discover fresh perspectives and techniques to enrich my work.

Drawing Inspiration from the Masters at the Museum of Besançon

As part of the drawing class, a group of us students took our artistic practice outside the studio and into the Museum of Besançon. There, we sought inspiration from the works of the old masters, using their masterpieces as a foundation for our creative exploration. I found myself captivated by the rich history and intricate details of the artworks housed in the museum. In this environment, I began to create a series of drawings on broken marble, a medium that intrigued me for its texture and symbolism of fragmented history.

My work during this period was diverse and reflective of my evolving artistic interests. I focused on several themes, including the continuation of my earlier explorations of hair in connection with the museum’s works, the study of drapery, and the rendering of faces and bodies with the inclusion of real objects such as socks and gloves. Additionally, I pursued the motif of boats, drawing them in relation to the museum’s collection. These works represented a continuation of my second-year studies, particularly my exploration of lace/drapery and the human form through live models.

The Influence of Family Portraiture and Female Figures

As a foreign student, far from my own family, I was deeply moved by a family portrait painting in the museum. This work resonated with me on a personal level, prompting me to draw small details from the painting, particularly the clothing and accessories of the figures depicted. As a female artist, the representation of women has always held a significant place in my work. This influence manifested in the creation of a female portrait inspired by various paintings and sculptures within the museum. I chose to depict these women without faces, adding found objects collected during my daily walks in Besançon to imbue the drawings with a sense of place and narrative.

One of my notable works during this period involved the reinterpretation of a mother and child portrait. I recreated the mother’s figure and, to represent the child, I glued a glove I had found—a poignant symbol of the child’s presence. In another piece, inspired by Henri Matisse’s nude, I incorporated a found comb, attaching it to the drawing of the female figure as she brushed her hair. These works reflected my deep engagement with the museum’s collection and my desire to connect these historical pieces with the everyday objects I encountered in my life.

The Road to “Infiniment” and the Impact of COVID-19

The drawing class proved to be an enriching experience, fueled by the encouragement and inspiration provided by Professor Lloret. My enthusiasm led me to create numerous drawings in various media, including pencil sketches, pen sketches, watercolors, and charcoal. The collective effort and creativity of our group did not go unnoticed. The museum director, impressed by our work, proposed that we organize an exhibition within the museum—a proposal that filled us with excitement and a renewed sense of purpose.

However, our plans were soon disrupted by the outbreak of COVID-19. The pandemic forced the closure of the museum and the postponement of our exhibition. Despite these challenges, we remained resilient, continuing to work on our drawings with unwavering determination. The prolonged period of uncertainty only strengthened our resolve to see our efforts come to fruition.

The Inauguration of “Infiniment”

Finally, in October 2021, our perseverance was rewarded with the opening of our exhibition at the Fine Arts Museum of Besançon. Titled “Infiniment,” the exhibition reflected the endless energy and creativity that had driven us throughout the pandemic. The title also symbolized the continuity of our artistic journey—a process that, despite delays and obstacles, had never truly ended.

The experience of participating in this exhibition was particularly meaningful to me, as it marked my first time exhibiting in a museum. As a Fine Arts student, this opportunity was both prestigious and significant, offering me a platform to share my work with a wider audience and to be recognized as an artist in an esteemed cultural institution.

“Infiniment” was not just an exhibition; it was a testament to the power of persistence, collaboration, and the unending nature of creative exploration. The challenge of selecting a few works from a vast collection of drawings was difficult, but it underscored the richness of the artistic journey we had all undertaken. This exhibition was a milestone in my artistic career, one that will continue to inspire my work for years to come.

As a Bangladeshi, my connection with boats and rivers is deeply rooted in my identity. Bangladesh, with its labyrinth of rivers—over 700 according to some historical sources—has nurtured a culture where boats are not just a means of transportation but a symbol of life, tradition, and survival. These rivers, with names as beautiful as their flowing waters, have shaped our land and our people. The boats, named with equal care and poetry, have always been more than vessels—they are a part of our collective soul.

The Moon Boat: A Symbol of Chittagong’s Naval Heritage

Among the myriad types of boats that have graced our rivers and seas, the Moon Boat holds a special place in my heart, especially because of its origin from my native city, Chittagong. The Moon Boat, with its elegant crescent shape, is more than just a fishing vessel; it is a reflection of the rhythm of life by the Bay of Bengal. These boats, crafted to navigate the challenging waves of the deep sea and the journeys to the islands, embody the resilience and ingenuity of the local fishermen. The beauty of their design, functional yet artistic, has inspired me to explore this motif in my artwork across various mediums—drawing, painting, lino printing, watercolour and more.

Yves Marre and His Unforgettable Contribution

My fascination with boats took a profound turn when I first read about Yves Marre and his extraordinary work in Bangladesh in a newspaper at the age of ten. The story of how he sailed a river barge from France to Bangladesh, later transforming it into the floating Friendship Hospital, left a lasting impression on me. It was an act of generosity and innovation that spoke to the very spirit of my country—a place where water, though a source of life, can also be a source of hardship.

In 2017, as a student of Alliance Française, I had the incredible fortune of meeting Yves Marre in person. I read a passage at his book launch, a moment that connected my childhood admiration to my adult aspirations. Yves Marre is not just a philanthropist; he is a kind soul whose work in preserving Bangladesh’s naval heritage and providing healthcare to the most remote river communities is nothing short of inspiring. Our continued friendship is a treasure to me, and his influence is a guiding light in my own artistic journey.

Preserving the Moon Boat: A Heritage at Risk

The Moon Boat, as Yves Marre himself has said, is one of the most outstanding and typical boats of the Bay of Bengal. However, like many traditional crafts, the art of building these boats is at risk of fading away. In 2013, through the collaborative efforts of Watever, TaraTari Shipyard, and the Zeppelin photo agency, a project was initiated to preserve the knowledge and techniques of Moon Boat construction. Five skilled carpenters from Cox’s Bazar were brought to the TaraTari shipyard, where their craftsmanship was meticulously documented. This preservation effort ensures that future generations can continue to build these beautiful vessels, keeping the tradition alive.

Since 2014, the Moon Boat has been showcased in France as part of efforts to highlight the rich naval heritage of Bangladesh. This international recognition of our traditional boats is not just a nod to their unique design but also an acknowledgment of the cultural significance they hold.

Yves Marre said about moon boat, “This boat, whose beauty is matched only by its rarity, is one of the most outstanding and the typical of the Bay of Bengal”.

Boats in My Art: An Ongoing Exploration

In my artwork, the Moon Boat is more than just a subject; it is a symbol of connection to my homeland, to the rivers that crisscross it, and to the people who have lived by and from the water for centuries. My representations of the Moon Boat in various artistic forms are an homage to this heritage, a way to keep the stories of our rivers and boats alive in a world that is rapidly changing.

The rivers of Bangladesh are not merely geographical features; they are the lifeblood of our nation. The boats that navigate them are not just tools but vessels of culture, history, and identity. Through my art, I hope to convey the importance of preserving this rich heritage, to celebrate the beauty of our traditional boats, and to honor the work of those like Yves Marre, who have dedicated themselves to safeguarding our cultural legacy.

At the heart of Besançon, a unique association is transforming public spaces into platforms for artistic expression: Juste Ici. Founded in 2011, this organization is dedicated to supporting contemporary art in public spaces. By making art accessible to everyone, it plays a crucial role in revitalizing the cultural landscape of Besançon and its surrounding areas.

Bien Urbain : A Festival of Art in (and with) Public Spaces

One of the most significant initiatives of Juste Ici is the Bien Urbain festival. Launched in the same year as the association, this festival was held annually until 2022 and then became a biennial event from 2022 onwards. It has become a must-see event for contemporary art enthusiasts. Bien Urbain invites around fifteen international artists to create original, site-specific works that are accessible to everyone in public spaces. These creations—whether sculptures, murals, multimedia works, or illustrations—turn the city into an open-air museum.

During my stay in Besançon from 2018 to 2023, I had the opportunity to discover these artists’ creations through university courses and guided tours organized by Juste Ici. These experiences opened my eyes to the importance of art in urban life and how it can transform our perception of our everyday environment.

The Artistic Hub: La Friche Artistique

Another remarkable initiative by Juste Ici is its management of the Friche Artistique de Besançon, a space dedicated to creativity and experimentation. During my professional degree program (LP METI) at the University of Franche-Comté in 2022-2023, I had the chance to visit this inspiring place with my classmates, guided by David Demougeot, the artistic director of Juste Ici. The Friche is a space where local and international artists meet, exchange ideas, and create. It is also a place where the history and architecture of Besançon are constantly reinterpreted through art.

Civic Engagement and Collective Participation

Juste Ici doesn’t just produce art; it also actively involves the residents of Besançon in collective projects. The “Ateliers Juste Ici,” for example, are initiatives that engage residents of the Planoise and Clairs-Soleils neighborhoods in artistic creation. These workshops empower participants to reclaim their public spaces by integrating collective artworks, whether through mural journalism or public space design.

In addition, Juste Ici leads educational initiatives by inviting artists to work in schools and specialized institutions. These artistic residencies allow students to discover contextual art by interacting with artists and creating art in their own environments. This approach aims to spark curiosity in young people, encourage their creativity, and raise their awareness of the importance of art in public spaces.

Biennale 2025: An Event Not to Be Missed

Since its inception, the Bien Urbain festival has seen the creation of 422 works by 162 artists and collectives from 25 different countries. These works, spread across Besançon, Osselle, and Saint-Vit, have helped to strengthen the cultural identity of the region. With the festival now operating as a biennial, the next edition is scheduled for June 2025. This event promises to once again be a powerful meeting point between art and the public, with works that will continue to surprise, challenge, and move viewers.

Conclusion

Juste Ici is much more than just an association; it’s a driving force for urban and social transformation. Through its commitment to artistic creation in public spaces, it breathes new life into entire neighborhoods while offering residents and visitors a fresh way to experience the city. The Bien Urbain festival, a true showcase of this commitment, is a must-attend event for anyone looking to explore the richness of contemporary art in an accessible and open setting. As we look forward to the next edition in 2025, Besançon continues to resonate with the rhythm of past, present, and future creations.

In 2020, as a student at ISBA, Institut supérieur des beaux-arts de Besançon, I had the unique opportunity to participate in an “Atelier Recherche Création” at the Musée de la Résistance et de la Déportation of Besançon before its renovation. Guided by my drawing and art history teachers, this research project profoundly impacted me, particularly the portraits and pictures of prisoners, their drawings, and the objects they used.

Emotional Connection to War

Although I, as a Bangladeshi, do not have a direct connection with the First or Second World War, my deep sentimental connection with war stems from the history of my country. The Indian subcontinent’s struggle for independence and Bangladesh’s Liberation War against Pakistan have always been integral to my upbringing. Growing up, I was immersed in stories of resilience and survival, shaping my understanding of the human spirit during times of conflict.

Artistic Representation: Portraits on Stones

Inspired by the poignant images of prisoners, I aimed to represent their faces and stories through a unique medium. At my art school, I found stones of various shapes and sizes, which I decided to use as canvases. Drawing portraits and pictures on these stones became a symbolic act, representing both the weight of history and the resilience of the human spirit.

Creating Faux Stones with Paper Mâché

In addition to using real stones, I experimented with paper mâché to create faux stones. This choice was symbolic, as stones are often the simplest and most common objects used for self-defense in the absence of weapons. These faux stones allowed me to expand my canvas and explore different textures and forms, adding depth to my artistic expression.

Symbolic Installations

I presented these stone portraits in various forms to convey deeper meanings. One installation featured the stones alongside paper boats (origami), symbolizing the plight of immigrants and refugees. Another included a small prayer rug, representing the prisoners’ sentiments and spiritual resilience. These installations aimed to evoke a sense of empathy and reflection in the viewers, connecting the past with the present.

The Impact of COVID-19

While there were plans to organize an exhibition at the Musée de la Résistance et de la Déportation of Besançon, the COVID-19 pandemic unfortunately led to its cancellation. Despite this setback, the experience was incredibly meaningful and transformative for me. It allowed me to delve deeply into the stories of those who suffered and survived during the war, and to channel those emotions into my art.

A Heartfelt Experience

The project at the Musée de la Résistance et de la Déportation was more than just an academic exercise; it was a heartfelt journey into the lives of people who endured unimaginable hardships. Through my art, I sought to honor their memories and bring their stories to life in a way that resonates with contemporary audiences. This experience reinforced my belief in the power of art to bridge historical gaps and foster a deeper understanding of human experiences.

Conclusion

Exploring the art inspired by the prisoners of World War II was a profound and emotional journey for me. As an artist, it provided an opportunity to connect with the past and reflect on the universal themes of resilience, survival, and hope. The process of creating these works, despite the challenges posed by the pandemic, was a testament to the enduring power of human creativity and spirit.

I invite you to explore these works and reflect on the stories they tell. Through this project, I hope to contribute to a broader understanding of the human condition and the enduring impact of history on our present and future.

One of my favorite films from Bangladesh, Matir Moina (The Clay Bird), directed by Tareque Masud, left a profound impact on me during my time as a student at ISBA School of Fine Arts in Besançon. When our painting class was tasked with creating artwork inspired by a film, I immediately chose Matir Moina. The film’s historical context, family dynamics, and the personal struggles depicted resonated deeply with me, influencing a unique series of artworks.

The Film Matir Moina: A Touching Narrative

Matir Moina is a 2002 Bengali war-drama that beautifully portrays the life of a family during the turbulent period leading up to the Bangladesh Liberation War. The film captures the essence of cultural and religious conflicts, seen through the eyes of a young boy, Anu. His experiences at a madrasah, his interactions with his family, and the socio-political upheaval of the time form the crux of the narrative. The film’s ability to convey such profound themes inspired me to explore these emotions and stories through my art.

Artistic Interpretation: Bringing the Film to Life

For my project, I decided to recreate the film’s essence using mixed media. I printed black-and-white stills from Matir Moina and juxtaposed them on rusted metal pieces and other found objects. This choice of materials was intentional, reflecting the decay and turmoil experienced by the characters. The rusted metal symbolized the erosion of stability and the harsh realities faced by the family.

Miniature Works with Mixed Media

My series of miniature works captures the intimate and fragile moments from the film. Each piece represents different aspects of the family’s life during the war, highlighting their dilemmas and the decisions they had to make. The use of mixed media allowed me to create layered textures and depths, mirroring the complex emotions and situations portrayed in the film.

The Legacy of Tareque Masud

Tareque Masud, an acclaimed Bangladeshi filmmaker, screenwriter, and producer, left an indelible mark on the world of cinema with Matir Moina. The film won international recognition, including the FIPRESCI Prize at the Cannes Film Festival in 2002, and was the first Bangladeshi film to compete for the Academy Award for Best Foreign Language Film. Masud’s ability to tell compelling stories through his films has been a significant influence on my artistic journey.

Thematic Representation in Art

In my artwork, I aimed to represent the core themes of Matir Moina: the struggle for identity, the conflict between tradition and modernity, and the impact of war on a family. The stills I chose to work with depict critical moments in the film, such as Anu’s time at the madrasah, the family’s internal conflicts, and the broader socio-political unrest. By pasting these images onto found objects, I sought to create a tangible connection between the past and the present, reminding viewers of the continuing relevance of these issues.

A Tribute to a Masterpiece

Creating art inspired by Matir Moina was a deeply personal and reflective process for me. The film’s portrayal of cultural diversity, religious liberalism, and the human spirit’s resilience is universal and timeless. Through my work, I hope to pay homage to Tareque Masud’s legacy and bring attention to the powerful narrative of Matir Moina.

Conclusion

Matir Moina is not just a film; it is a poignant reflection of a significant historical period and the personal stories within it. My series of miniature mixed media works aims to capture the essence of this masterpiece, providing a visual narrative that complements Masud’s cinematic storytelling. Through this project, I aspire to connect with viewers on an emotional level, sharing the film’s impact and its relevance to contemporary issues.

As an artist, finding inspiration in such a profound piece of cinema has been an enriching experience. I invite you to explore my work and the intricate layers of history, emotion, and artistry it embodies, all inspired by the remarkable film Matir Moina.

I am originally from Bangladesh, where I lived for 26 years, mainly in a village within a large family. From a very young age, I observed with fascination the objects, materials, ways of dressing, architecture, and lifestyles around me. These early impressions deeply influenced my artistic and cultural sensitivity.

The Discovery of France and its Cultural Contrasts

My arrival in France led me to reflect on the different ways of building and living between distinct cultures. For example, the marble and stained glass I discovered here in France are absent in Bangladesh, where earth is often used for constructions. I have precious memories of my childhood home, built of earth. Just before my departure for France, my family decided to rebuild it with bricks. These cultural differences fascinate me, especially when observing architecture. The first thing that greatly interested me in Europe was the architecture, influenced by my village earth house where I spent my entire childhood.

Bangladeshi Architecture: A Rich and Fragile Heritage

The architecture of Bangladesh is rich, as evidenced by the Kantaji Temple in Dinajpur, a significant structure made of terracotta. The door is a crucial part of architecture, symbolizing entrance and exit. An anecdote from my life ties me to this door: in 2017, during a trip from Chittagong (southern Bangladesh) to Thakurgaon, I attempted to visit the Kantaji Temple located 574 km to the north. Unfortunately, the entrance was forbidden due to the temple’s degraded state and the fragility of the terracotta in the face of humidity. I felt sad and thought that the temple might have been more resistant if it had been built with marble or a more solid material.

The Influence of French architecture on My Art

Later, I found pieces of broken marble stone next to the painting studio at ISBA, on which I drew with watercolor and markers, influenced by Mughal and Persian miniature painting. These works reminded me of my village home and enriched my artistic approach by incorporating materials I was discovering in France.

My Journey in France: From Discovery to Inspiration

My first visit to France was at the end of March 2018. I spent two months in Besançon, and the building of the Fine-Arts Museum (Musée des Beaux-Arts de Besançon) particularly interested me, even though it was under renovation and I couldn’t enter. Fortunately, after a few months, I had the opportunity to return to France. In November 2019, I finally had the chance to visit the museum.

This journey, from my village to the museum, allowed me to see and appreciate the diverse forms and materials of architecture, enriching my understanding and appreciation of various cultures around the world. I have a particular sensitivity to architecture because in Bangladesh, I grew up in a mud house, but my family decided to demolish it to build a new house out of baked brick.

Architectural Evolution and the Loss of Heritage

In Bangladesh, a densely populated country, people prefer large modern buildings, which leads to the loss of our architectural heritage. This rapid and sometimes brutal transformation of landscapes and traditional ways of life compels me to integrate these reflections into my art. In France, I have discovered not only new materials but also a new way of understanding space and cultural memory.

Celebrating and Preserving Cultural Heritage

Through my works, I seek to celebrate and preserve cultural heritages while exploring the interactions between different cultures. My art becomes a bridge between the past and the present, between Bangladesh and France, allowing us to question and value the richness and fragility of our respective heritages.

By enriching my artistic practice with these experiences, I aim to offer a new perspective on the resilience and beauty of architectural traditions while encouraging a respectful and inspiring intercultural dialogue.

On my first visit to Rennes, the half-timbered buildings immediately captivated me. Perfect embodiments of the fusion between tradition and modernity, these structures are very different from what I know in my country, Bangladesh. Highly decorated and colorful, they particularly appealed to me, offering a striking contrast to the modern architecture also found in the city.

As a student at the University of Rennes 2, I have had the opportunity to get involved in several activities alongside my studies. For example, I volunteer for AFEV, an organization that supports children and teenagers in various activities to discover the city. I also participate in the Buddy System, a program that allows meeting French and international students to discover their culture and do sports and visits together.

I have also taken part in the “Mix ta fourchette” activity, which allows exploring cuisines from different cultures. I participated in this activity twice with Erasmus students, which gave me a lot of pleasure in tasting food from different countries and sharing the cuisine of my own country.

Fusion: Tradition and Modernity

I find that Rennes is a fusion of old and modern architecture, allowing one to discover both history and contemporary life. Personally, I greatly appreciate old architecture, but I find modern buildings more practical to live in. However, sometimes these modern structures lack color and joy.

I have a particular sensitivity to architecture because in Bangladesh, I grew up in a house made of raw earth, but my family decided to demolish it to build a new house with fired bricks. In Bangladesh, a very densely populated country, people prefer large modern buildings, which leads to the loss of our architectural heritage. It makes me sad to see this heritage disappearing. I think it is important to adapt and accept changes while preserving our traditions and finding inspiration for the future.

An artistic collage between past and present

This year, with the University of Rennes 2, I participated in a workshop called “Projet Vacéer,” focused on artistic creation and student engagement in public spaces. At first, I felt a bit lost trying to find the connection between my student engagement and the public space. I started drawing different ideas, inspired by my interest in architecture. I took photos of architecture while walking around the city center, particularly of the half-timbered buildings.

I printed the photos, cut out the parts that interested me, and glued these pieces of half-timbered buildings with elements of modern buildings. I hand-drew certain parts to create a unique composition. Using watercolor paint on the photos, I created a panoramic collage of the city of Rennes.

Using photography and printing is a modern technique, while drawing and watercolor are traditional methods. This blend of techniques is essential for my work as it reflects the fusion of old and contemporary architecture. This approach resonates deeply with my life, my artistic passion, and my student involvement in France. It also highlights the importance of culture, the cultural changes between Bangladesh and France, and the evolution between ancient and modern times.

The process of creating this panoramic collage was a true artistic exploration for me. By layering photos of the half-timbered and modern buildings of Rennes, I was able to capture the essence of the city, which harmoniously blends tradition and modernity. The collage technique, combined with watercolor, not only creates a visually pleasing aesthetic but also tells a story. Each brushstroke, each cut, and photo collage symbolises how elements from different eras can coexist and enrich our environment.

Reflection on architectural evolution through art

This artistic project allowed me to reflect on the importance of preserving our heritage while embracing innovation and progress. The half-timbered buildings of Rennes remind me of the ancient structures in my country, while the modern buildings symbolize the future. By combining these elements, I was able to create a piece that celebrates this duality and highlights the necessity of finding a balance between the past and the present.

In conclusion, my experience in Rennes and at the University of Rennes 2 has offered me a valuable opportunity to express myself artistically while engaging with the local community. The “Projet Vacéer” project helped me better understand how my student engagement could translate into a public and artistic context. Through this panoramic collage, I not only explored the architectural richness of Rennes but also discovered a way to connect my cultural roots with my life in France. This experience has strengthened my desire to continue creating works that celebrate diversity and cultural evolution while honouring the traditions that shape our identity.

The Influence of Rabindranath Tagore

Growing up listening to Rabindranath’s music since childhood was a formative experience. Every morning, someone played Rabindra Sangeet on a music player in the house next to the math teacher’s, where I used to go for private lessons. In the afternoon, Rabindra Sangeet (Tagore songs) was played on a tape recorder at home, or at night, my uncle would hum while singing. That’s how this old Sage began to influence me. Not just songs or poems! From nursery rhymes to news, dramas, novels, paintings, he wanders everywhere. Rabindranath is inexorably linked to the existence and feelings of Bengal and Bengalis.

A Timeless Tune: Music’s Unchanging Friendship

There’s no season, no time for which he hasn’t written songs or poems. There are no feelings he hasn’t expressed. Whether the spirit is good or bad, morning, evening, or night, rain or spring, all seasons, all times, all feelings, Rabindra Sangeet seems to be a constant companion. Moreover, there are also stories, novels, nursery rhymes, poems.

I almost wondered what he might think of all my thoughts and feelings!! How all my thoughts, emotions, and feelings match one of his songs. But how long before my birth he left this world! Two centuries separate us, but the feelings and emotions are very similar. Listening to his songs reminds me every time of how much it feels like talking to him, how much I could argue with him; we talk about nature, songs, short stories. As if he were my close friend.

Tagore: A Friend, A Guardian

Sometimes I think he is my tutor, sometimes I think he is my peer, and sometimes I think he is my grandfather’s age. As if he is with me, he hears everything I say! He probably knew that would happen. Poets, writers, artists can see the future. How far ahead of his imagination was he writing 150 years ago? “Who are you, reading my poems in a hundred years?”

“আজি হতে শত বর্ষ পরে

কে তুমি পড়িছ বসি

আমার কবিতাখানি কৌতূহলভরে

আজি হতে শত বর্ষ পরে।”

This poem by Tagore, translated as “Who are you, reading my poems in a hundred years?”, is a poignant reflection on the enduring nature of art and how human emotions transcend time. The idea that he knew his works would touch future generations gives me chills. It’s as if he foresaw this timeless connection, this silent and profound exchange between him and me, across the ages.

Rabindranath Tagore, with his vast repertoire of works, managed to capture the essence of life and human emotions in a way that remains relevant even centuries later. His influence extends beyond geographical and temporal boundaries, touching the hearts and minds of people, no matter where they are or what era they live in.

What’s remarkable about Tagore is his ability to express the nuances of every human emotion through his writings and music. Whether you feel joyful, melancholic, in love, or introspective, there’s always a song or poem by Tagore that resonates with your mood. It’s this universality and timelessness of his works that make him so special.

A Constant Source of Inspiration

Growing up with Rabindra Sangeet as a constant soundtrack, I developed a deep emotional connection with his works. They became a guide, a friend, and a constant source of inspiration. Tagore, through his words and music, became an integral part of my life, an invisible companion who understands my deepest thoughts and feelings.

Timeless legacy of Tagore

In conclusion, the music and writings of Rabindranath Tagore transcend the barriers of time and space, creating a soul-to-soul connection between him and his readers and listeners. Through his works, he continues to live on and touch the lives of millions, bringing comfort, inspiration, and a sense of timeless connection.