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.

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.

What is Linocut?

Linocut, or linoleum print, is a relief printing technique where an image is carved into a sheet of linoleum. The design is then inked and pressed onto paper or fabric to create a print. Unlike woodcuts, linocut offers a smoother surface and is easier to carve, making it perfect for beginners. However, the material wears down faster during the printing process due to its soft nature.

Essential Supplies for Linocut

Before you dive into the linocut process, you’ll need a few essential materials. Luckily, linocut is accessible and affordable for beginners.

1. Linoleum Blocks
   Start with traditional battleship-gray linoleum, which is easy to carve. Look for unmounted linoleum, or, for added stability, choose linoleum mounted on a wooden block.

2. Carving Tools
A set of carving tools is essential for shaping your design. I personally use Power Grip Carving Tools, but there are many affordable options available. Make sure you have a variety of V-gouges and U-gouges to achieve different textures and line qualities in your design.

3. Ink
Choose an ink based on your intended surface. For paper, oil-based inks like Cranfield Caligo Safe Wash Relief Ink work well. For fabric printing, try Speedball Fabric Block Printing Inks. If you’re just starting, water-based inks might be easier to clean up.

4. Brayer (Roller)
A soft rubber brayer is used to evenly spread ink over your linoleum block. Brayers come in different sizes, so select one that matches the size of your linoleum block. Speedball Soft Rubber Brayers are a popular choice for beginners.

5. Paper
For hand-printing, choose a soft, absorbent paper. Popular choices include rice paper or specialized printmaking paper like Rives BFK.

6. Spoon or Baren
If you don’t have access to a printing press, a simple tool like the back of a spoon or a baren can be used to transfer the ink from your linoleum block to the paper.

Step-by-Step Guide to Linocut

Now that you have your supplies ready, here’s a step-by-step guide to creating your first linocut print.

1. Design Your Image

Start by sketching your design on paper. Keep in mind that the final print will be a mirror image of your drawing, so if you’re including text, reverse it before transferring. Simple black-and-white designs with bold lines work best for beginners.

2. Transfer the Design

Once your design is finalized, transfer it onto the linoleum block. You can do this by drawing directly onto the block or by using carbon paper to trace the image onto the surface.

3. Carve the Block

Begin carving your design using the V-shaped and U-shaped gouges. Carve away the areas you don’t want to print (the negative space). Take your time and be cautious, as it’s easy to make mistakes. If you do slip, don’t worry — mistakes can be patched up with super glue and re-carved.

4. Ink the Block

Use your brayer to roll a thin, even layer of ink over the raised surfaces of your linoleum block. Avoid over-inking, as this can lead to messy prints.

5. Print Your Design

Place your inked block face-down onto the paper. If you’re printing by hand, press firmly with a baren or the back of a spoon to transfer the ink. Make sure to apply even pressure across the entire surface. Peel the paper off slowly to reveal your print.

6. Dry and Repeat

Let your print dry completely before handling it. If you’re making multiple prints, repeat the inking and printing process for each one.

Troubleshooting Common Linocut Issues

Linocut is a forgiving medium, but a few common issues can arise. Here’s how to solve them:

• Uneven Printing: If some parts of your print aren’t as dark as others, ensure you’re applying even pressure when printing by hand.
• Stray Marks: Stray ink marks can occur if you don’t carve deeply enough. Try wiping the block clean before inking or carve out the areas again.
• Ink Bleeding: If your ink spreads too much, you may have used too much ink. Try applying a thinner layer with your brayer.

Exploring Color Linocuts

Once you’ve mastered the basics of black-and-white linocut, you can experiment with color. There are two primary methods for creating color linocuts:

1. Multi-Block Method: Use a separate block for each color in your design. Print each layer in succession.
2. Reduction Method: Carve and print one layer at a time from a single block, cutting away more material for each successive color.

Final Thoughts

Linocut is a rewarding and versatile printmaking technique that’s perfect for artists of all levels. Whether you’re experimenting with simple black-and-white designs or diving into multi-color prints, the process offers endless creative possibilities. If you encounter challenges along the way, don’t be discouraged. With practice and patience, you’ll be creating beautiful prints in no time.

Feel free to reach out with any questions or for additional tips — happy printing!

A Shark in a Glass Case

The artwork consists of a 14-foot tiger shark, encased in a large glass tank filled with formaldehyde. The predator appears frozen in a menacing pose, as if ready to attack, but remains motionless, trapped in death. This presentation, both clinical and dramatic, creates a sense of unease for the viewer. Hirst himself stated that he wanted the shark to be large enough to give the impression it could “eat you,” and that the tank should be big enough for the viewer to imagine being inside it.

The power of this piece lies in the illusion it creates: although we know the shark is dead, its imposing size and threatening posture play on our primal survival instincts, evoking a visceral fear. The artist explores the thin boundary between life, death, and our inability to truly grasp death while we are still living.

Between Art and Philosophy: Mimesis and Beauty

Mimesis: A New Interpretation

The concept of mimesis, introduced by Plato, is based on the idea that art is an imitation of reality. In The Physical Impossibility of Death in the Mind of Someone Living, Hirst blurs this traditional line. His shark is not an imitation of nature, but an actual fragment of it, removed from its environment and presented as it is. This is not a sculpture or painting of a shark, but a real shark, transformed into art by its context.

This radical choice challenges Plato’s idea of mimesis. Here, Hirst does not create a degraded representation of reality, as Plato might suggest, but instead presents raw, unaltered reality. In this sense, he follows the tradition of Marcel Duchamp‘s ready-mades, where the found object becomes art simply through the artist’s selection. Hirst forces us to reconsider what art is, and whether art resides in the object itself or in the artist’s intention.

Beauty: A Dialogue with the Sublime

Hirst’s work also challenges our traditional perception of beauty. While classical theories associate beauty with harmony, proportion, and aesthetic pleasure, The Physical Impossibility of Death in the Mind of Someone Living disturbs rather than soothes. The shark symbolizes violence and death, and its mere presence evokes imminent danger. Yet the installation also elicits a certain aesthetic fascination, a mixture of fear and admiration, which philosopher Edmund Burke would attribute to the sublime rather than beauty.

The sublime, according to Burke, is that which has the power to terrify and captivate us, an intense emotion often linked to grandeur and death. Hirst’s shark embodies this duality: it is both terrifying and mesmerizing, a perfect embodiment of Burke’s sublime. The fear of death it evokes forces us to confront our own mortality, creating an experience that is both aesthetic and existential.

A Multi-Dimensional Work

Hirst explores multiple layers of meaning in this work. Psychologically, he taps into our innate fears of predators and death. Zoologically, he highlights a misunderstood and feared animal. Popular culture, with its imagery of the shark as a ruthless killer (think of the film Jaws), further intensifies the fascination and terror felt by the viewer.

But beyond these dimensions, The Physical Impossibility of Death in the Mind of Someone Living also questions the role of art. Hirst faced criticism when the original shark began to deteriorate, raising issues about the conservation of contemporary artworks. When he replaced the original shark with another, it sparked a philosophical debate: does the artwork remain the same if its material object is replaced? For Hirst, the artist’s intention takes precedence over the physical object. He believes the work remains the same because the idea remains intact, even if the shark has been replaced.

Conclusion: A Meditation on Death and Perception

Ultimately, The Physical Impossibility of Death in the Mind of Someone Living is not just about shocking or provoking. It questions our relationship to death, a reality we cannot comprehend while we are still alive. By using a real, threatening shark, Hirst invites us to confront our fears and challenge our preconceived notions of art, beauty, and death.

In capturing a moment frozen between life and death, Hirst creates a work that transcends traditional aesthetics and compels us to contemplate the inevitable: death itself.

My journey with etching began during my second year at the Institute of Fine Arts, Chittagong, where I first encountered this intricate and fascinating art form. Although my primary focus at the time was painting, etching always held a certain allure for me. Yet, as a painting student, I never had the chance to delve into it hands-on—until 2020, when I participated in an Erasmus program in Dresden.

It was there that I met Hanif Lehmann, a talented printmaker who introduced me to the practical aspects of etching. This experience reignited my dormant curiosity and quickly turned into a passion, leading me to create several etching plates. The process was both challenging and immensely rewarding, allowing me to develop a profound appreciation for the art of etching.

Etching is a time-honored printmaking technique that blends artistry with chemical processes to produce intricate designs on metal plates. Despite its Renaissance origins, etching remains a popular medium among artists today. In this guide, I’ll walk you through the basic steps of etching, offer insights on selecting the right materials, and share tips based on my own experiences, from the classroom in Chittagong to the studios of Dresden. Whether you’re a beginner or simply curious, I hope to inspire you to explore the captivating world of etching.

What is Etching?

Etching is a type of intaglio printmaking that involves using acid to create designs on a metal plate. The artist coats the plate with a waxy, acid-resistant ground and then uses an etching needle to draw their design, exposing the metal. The plate is then submerged in an acid bath, which etches the exposed metal, creating grooves that hold ink. When inked and pressed onto paper, these grooves transfer the design, resulting in a print.

Essential Materials for Etching

Selecting the right materials is crucial for successful etching. Here’s a breakdown of the key materials you’ll need:

a. Metal Plates

• Copper: Copper is the traditional choice for etching because it etches evenly, holds fine details, and doesn’t alter ink color. However, it can be expensive.
• Zinc: Zinc is a more affordable option and easier to work with, making it suitable for beginners. However, it doesn’t bite as cleanly as copper and can affect the ink’s color.
• Steel: Steel is a durable option that is gaining popularity. It offers a good balance between detail and longevity but can be harder to work with than copper or zinc.

b. Etching Grounds

• Hard Ground: This acid-resistant coating is applied to the metal plate before etching. It’s typically made from wax, resin, or a combination of both. It’s essential to ensure an even application to avoid uneven etching.
• Soft Ground: Similar to hard ground but softer and stickier, allowing for textural effects and the transfer of patterns or objects onto the plate.

c. Etching Needles and Tools

• Etching Needles: These are used to draw the design onto the plate by scratching through the ground to expose the metal. Different needle sizes allow for varied line thicknesses.
• Roulette Tools: These create dotted or textured lines and are rolled over the plate to add different effects.
• Scrapers and Burnishers: These tools are used for correcting mistakes and refining the plate. A scraper removes burrs, while a burnisher smooths the surface.

d. Acid Baths

• Nitric Acid: Commonly used for zinc plates, this acid is strong and fast-acting. It requires careful handling and safety precautions.
• Ferric Chloride: Often used for copper plates, this acid is safer and slower acting, giving more control over the etching process.

e. Inks and Wiping Materials

• Etching Inks: These are highly pigmented and designed to stick to the etched grooves. They come in oil-based and water-soluble varieties. Choose according to your preference and the effect you wish to achieve.
• Tarlatan: This is a heavily starched cheesecloth used to wipe excess ink from the plate, leaving ink only in the grooves.

f. Printing Press

• Etching Press: A traditional press uses heavy rollers to apply pressure evenly across the plate and paper. Tabletop models like Fome etching presses are suitable for small-scale works, while handheld options like the Sláma Press offer portability and ease of use.

g. Paper

Etching Paper: Heavyweight papers like Somerset or Fabriano Rosapina are ideal. These papers are durable, absorb ink well, and can withstand the pressure of the press. Hahnemühle papers, made from 100% alpha cellulose, are also a great choice for their sensitivity to detail.

Step-by-Step Etching Process

Now that you’re familiar with the materials, let’s dive into the etching process:

a. Preparing the Plate

1. Polish the Plate: The first step in the etching process is to prepare the metal plate. This involves carefully polishing the surface to remove any imperfections, ensuring a smooth and even base for the artist’s design. Once polished, the plate is coated evenly with a protective layer called the ground, which is essential for resisting the acid and protecting the areas that should not be etched. Additionally, it’s advisable to polish the edges of the metal plate at a 45° angle to prevent the paper from tearing during the printing process.
2. Apply the Ground: With the ground applied, the artist can begin scratching the design onto the plate using an etching needle. This needle is a blunt stylus that allows for precise control, enabling the artist to create intricate details. The design can vary in complexity, from simple lines to elaborate compositions.

b. Creating the Design

3. Draw with Etching Needle: Use an etching needle to scratch your design into the ground, exposing the metal beneath.
4. Add Textures: Utilize roulettes or other tools to add textures and effects to your design.

c. Etching the Plate

5. Acid Bath: After the design is etched into the ground, the plate is ready for the acid bath. The type and strength of the acid, as well as the duration of the bath, are carefully controlled to achieve the desired effect. The acid eats away at the exposed metal, creating recesses that will later hold the ink. To achieve different tonal values, some areas of the plate can be bathed in acid multiple times, while others are protected by reapplying ground.
6. Rinse and Clean: After achieving the desired depth, remove the plate from the acid, rinse it with water, and clean off the remaining ground with a solvent.

d. Inking and Printing

7. Inking the Plate: Apply etching ink over the entire plate, ensuring it fills the grooves.
8. Wipe the Surface: Use tarlatan to wipe away excess ink, leaving ink only in the etched lines.
9. Printing: Place the inked plate on the press bed, cover it with dampened paper, and run it through the press.

e. Final Steps

Inspect and Repeat: Check the print for any imperfections. You can re-etch or re-ink the plate as needed to achieve your desired result.

The Historical Context of Etching

Etching has a rich history, dating back to the late Middle Ages. It was initially used by metalworkers to decorate armor and other items before artists like Daniel Hopfer of Augsburg began using it for printmaking. Over time, etching became a popular medium among artists across Europe, with masters like Rembrandt and Francisco Goya pushing the technique to new heights.

The use of copper plates, which became common in Italy, allowed for greater detail and finer lines, helping etching to rival engraving as a printmaking method. While engraving requires specialized skill with a burin, etching is more accessible to artists trained in drawing, as it involves drawing the design into a ground rather than directly into metal.

My Experience with Etching

My first experience with etching in Dresden was eye-opening. The process, though meticulous and time-consuming, was incredibly rewarding. Seeing the first print emerge from the press was a moment of pure satisfaction. The ability to create multiple impressions from a single plate opened up new possibilities for my work, allowing me to experiment with variations in tone and composition.

Conclusion

Etching is more than just a printmaking technique; it’s a journey that requires patience, skill, and a deep understanding of materials. My journey with etching, from a curious student to a practicing artist, has been filled with discovery and growth. Whether you’re an artist looking to explore new techniques or an art lover curious about the process behind the prints, etching offers a fascinating glimpse into the world of printmaking.

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.

I have never imagined writing about him like this. Shafin Ahmed, a name synonymous with Bangladeshi rock music, left an indelible mark on the country’s music scene. Born on 14 February 1961, in the city of Calcutta, Shafin was a rock bassist, singer-songwriter, record producer, and politician. He was best known as the lead singer, songwriter, and bassist for the legendary Bangladeshi rock band Miles, which he joined in 1979 alongside his elder brother, Hamin Ahmed. His passing on 25 July 2024 at the age of 63 is a profound loss for the music community. Although I never met him in person, his voice and his music had a tremendous impact on my life and the lives of many others.

A Musical Heritage and Early Beginnings of Shafin Ahmed

Shafin Ahmed’s musical journey was predestined, given his lineage. He was the youngest son of Kamal Dasgupta, a renowned Bangladeshi classical music singer, and Firoza Begum, a celebrated singer of Nazrul Sangeet. Growing up in a household steeped in music, Shafin’s exposure to melodies and rhythms began at a tender age. By the age of nine, he had already embarked on his musical career, taking lessons in Nazrul Sangeet, a genre his mother was famed for.

In the late 1960s, Shafin’s family relocated to Dhaka, where his musical aspirations continued to flourish. However, it was his stint in London during the late 1970s, where he pursued higher education, that exposed him to the vibrant rock and roll culture, shaping his musical identity.

The Rise of Miles

In 1979, Shafin joined Miles as an acoustic guitarist. The band, founded by Farid Rashid, was undergoing changes, and Shafin’s entry marked a new era. By 1991, as the band reestablished itself in the Bangla rock music scene, Shafin had taken on the roles of lead singer and bassist. His contributions were pivotal in crafting the band’s signature sound and propelling them to the forefront of Bangladesh’s music industry.

Miles became a household name, with Shafin at the helm. His distinctive voice and compelling songwriting resonated with fans across the nation. Albums like “প্রতিচ্ছবি” (Reflections) featured many of his compositions, which became anthems for a generation. Shafin’s musical prowess extended beyond performance; he was a visionary who helped shape the band’s creative direction.

Turbulence and Resilience

Despite the band’s success, Shafin’s journey with Miles was not without its challenges. In 2009, internal disputes led to his departure from the band. During this period, he formed a new group, Rhythm of Life, but the venture was short-lived. By the end of 2010, Shafin had rejoined Miles, demonstrating his resilience and commitment to the band.

Shafin’s tenure with Miles was marked by periods of turbulence and reconciliation. He left the band again in 2017, only to return in late 2018 after resolving differences with the other members. His final departure in 2021 marked the end of an era, but his legacy with Miles remained intact.

A Personal Reflection

My introduction to Shafin Ahmed’s music was serendipitous. As a child, I often heard his songs played by a neighbor, long before I even understood the concept of a “band.” His voice, with its captivating timbre, drew me in, making Miles my favorite Bangladeshi band. His ability to carve out his identity, separate from his illustrious parents, inspired many others.

Shafin Ahmed’s influence on Bengali music is immeasurable. He was not just a musician but a cultural icon who bridged generations and genres. His passing on 25 July 2024, at Sentara Norfolk General Hospital in Norfolk, Virginia, due to heart and kidney failure, is a profound loss for the music community.

A Lasting Legacy

As I reflect on Shafin Ahmed’s life and career, I am reminded of the power of music to transcend boundaries and bring people together. Shafin’s journey from a young boy in Calcutta to a rock legend in Bangladesh is a testament to his talent, perseverance, and passion. His music continues to inspire, and his legacy lives on through the countless lives he touched.

In celebrating Shafin Ahmed, we honor not just the man, but the music and memories he gave us. His contributions to Bangladeshi rock will forever hold a special place in our hearts.

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.