Every September, this special event allows the public to explore historical sites that are usually closed to visitors, often for free. It’s a rare opportunity to step inside buildings steeped in centuries of stories and to truly understand their significance.

During these days in Rennes, where I currently live, I’ve had the chance to visit some truly extraordinary sites. Each one offered me a unique journey through time and history.

Jacques-Cartier Prison: A Silent Witness of History

One of the most striking visits was to Jacques-Cartier Prison, a former departmental prison built in the 19th century by architect Jean-Marie Laloy. This imposing structure served as a detention center until 2010 and carries the heavy memory of World War II, when political prisoners captured by the Nazis were held there before being deported to concentration camps.

Walking through its dark, narrow corridors was an intense experience. I could almost hear the echoes of the past, imagining the lives and fears of those who were once confined within these walls. Although the prison has been closed for years, it opens exceptionally for Heritage Days, allowing visitors to rediscover this historic site. Rennes Métropole has plans to transform the building into a cultural venue — a beautiful way to give it a new chapter while preserving its legacy.

The Underground Reservoir: A Hidden Cathedral of Water

Another unforgettable experience was exploring the underground water reservoir. Supported by 196 six-meter-high pillars, the structure resembles a mysterious subterranean cathedral. Even though it has been out of service since 2012, it still holds water to maintain its preservation.

The atmosphere inside was both impressive and almost mystical, with soft echoes bouncing off the stone pillars. Knowledgeable staff from Eau du Bassin Rennais guided the visit, sharing their passion for ensuring the constant flow of clean drinking water. Because of its underground location, access is limited, but the experience is unlike any other — both educational and deeply atmospheric.

Institut Agro Rennes-Angers: Seeds of the Future

I was also pleasantly surprised by my visit to Institut Agro Rennes-Angers, a prestigious institution dedicated to agriculture, food, and environmental research. Wandering through its laboratories, library, and small seed collection museum was like stepping into the future.

Here, researchers and students are working on the challenges of tomorrow — how to feed the planet while respecting nature’s limits. This visit was inspiring and thought-provoking, revealing the link between scientific innovation and our shared cultural heritage.

Parliament of Brittany: A Jewel Reborn

No journey through Rennes would be complete without mentioning the Parliament of Brittany, a true architectural gem. Designed by Salomon de Brosse in the 17th century, the building miraculously survived the great fire of 1720 but suffered severe damage in the tragic fire of 1994. Thanks to meticulous restoration, it has since regained all its former glory.

Inside, French-style ceilings, golden wood carvings, and large allegorical paintings give the space a breathtaking grandeur. The Grand’Chambre, in particular, stands as a masterpiece — a testament to the resilience of cultural heritage and collective will.

A Celebration of Memory and Transmission

European Heritage Days were first launched in France in 1984 at the initiative of Minister Jack Lang. The idea quickly spread beyond French borders, and today, around fifty countries participate in this annual celebration every third weekend of September. Churches, museums, courthouses, castles, town halls, and even private sites open their doors to the public, inviting everyone to explore and connect with history.

For me, these days are more than cultural visits — they are a reminder of how history lives within us. They encourage citizens to value their heritage and inspire younger generations to protect it.

As a Bangladeshi, I can’t help but reflect on what it would mean to have such events back home. Perhaps some of our own architectural treasures might have been better preserved and restored if we had similar initiatives.

European Heritage Days are not just a festive cultural moment; they are an act of collective memory and transmission, a bridge between past and future. Each visit is like opening a new page in the book of history — and each step reminds me why preserving heritage is essential for every community, everywhere.

Wandering the Streets, Finding a Purpose

I often wander the streets of Rennes, my adopted city, looking for inspiration, discovering hidden corners, or simply letting curiosity guide my steps. One day, while strolling through the city center, I noticed a shop that, at first glance, seemed ordinary—with a lovely collection of handmade items. Little did I know, I was about to encounter something that would move my heart and reshape my sense of purpose.

A Braderie, a Boutique… and a Spark

June 25th, 2025 marked the day of la grande braderie de Rennes, a big annual street market. While walking around with my friend, we passed by the shop Artisans du Monde. Drawn in by the affordable prices, I bought two small boxes—slightly flawed but still beautiful.

Then my friend pointed out a jute turtle, labeled as handmade in Bangladesh—my home country. I was so surprised and touched to recognize something from back home, thousands of kilometers away.

I also spotted some beautifully painted vases in vibrant floral styles, immediately reminding me of the colorful rickshaw painting style in Bangladesh. I asked the woman at the counter where they came from. Her answer—”Bangladesh”—filled me with joy and pride.

Behind the Shopfront: A Mission of Solidarity

At the checkout, I picked up a brochure. Later at home, as I flipped through it, I discovered that Artisans du Monde wasn’t an ordinary store—it was a non-profit association committed to fair trade. They support artisans, especially women, from developing countries—including Bangladesh—to build dignified lives through their craftsmanship.

This deeply resonated with me. I grew up in a rural village where women create beautiful handcrafted items despite difficult living conditions. I felt an immediate connection. That’s when I decided to volunteer with the association—to help bring more visibility to the talent and traditions of these women on a global scale.

A Story Rooted in Struggle and Hope

The story of Artisans du Monde is closely tied to Bangladesh. Founded in 1974, the association initially supported women who had survived the war of independence, famine, and devastating floods. These women, often with little formal education but immense resilience, began crafting items using accessible materials like jute. With the support of socially engaged citizens and the UCOJUCO movement (Union of Twin Towns for Cooperation), initiated by Abbé Pierre, their creations were brought to France.

This wasn’t about charity—it was about fair trade. As early as 1964, at the UNCTAD conference in New Delhi, Global South countries demanded: “Trade, not aid.” That slogan became a cornerstone of the international fair trade movement.

A Movement that Became Global

Over the decades, fair trade grew into a powerful global movement. During the 1980s, the number of Artisans du Monde shops tripled in France. A central purchasing unit was created to manage imports and distribute products to the growing network of stores.

Certifications like Max Havelaar (1988) and the World Fair Trade Organization (1989) helped bring visibility and credibility. Today, fair trade goods have entered mainstream markets, and in 2017, for the first time, fair trade sales in France surpassed one billion euros.

My Commitment to Women’s Craftsmanship

As an artist and daughter of a Bangladeshi village, I’ve seen firsthand the beauty and strength behind women’s artisanal creations. Their skills, stories, and dreams deserve recognition and support.

Through this association, I finally feel like I’m taking a real step toward that goal—helping their work reach international audiences and showing the world the value of their artistry. I am proud to be part of a movement that brings meaning to art, trade, and human connection.

When Art Becomes a Bridge of Hope

My discovery of Artisans du Monde was an unexpected gift—a moment where my past, my artistic present, and my socially engaged future all came together. Each item in their store—every fabric, every brushstroke, every handmade piece—is a story of resilience, dignity, and beauty.

This is more than just art. It’s a bridge. And I’m honored to walk it.

Grab your supplies and let’s get creative!

Materials Needed

• Optical glass box (plastic or metal)
• Masking tape
• Sandpaper (fine-grit)
• Acrylic paints (your choice of colors)
• Paintbrushes (various sizes for detailing and filling)
• Palette or mixing surface
• Pencil or fine-tipped marker
• Varnish (optional, for a polished finish)
• Clean cloth or tissue

Step 1: Prepare Your Optical glasses Box

The first step is to prepare the surface of your optical box for painting. Start by cleaning the box with a cloth to remove dust and oils. Once it’s clean and dry, assess whether the box has any logos, names, or engravings you’d like to cover.

Tip:

Use masking tape to block off any parts you don’t want to paint. This ensures a clean and precise look. If the box has engravings, don’t worry—we’ll address them next!

Step 2: Remove Logos and Engravings

To eliminate logos or engraved text, lightly sand the affected areas with fine-grit sandpaper. This will smooth the surface and make it easier to apply paint. Be gentle to avoid damaging the box’s structure.

Once sanded, wipe away any dust with a clean cloth. Now your optical box is ready for a complete makeover!

Step 3: Base Coat and Coloring

Choose a base color for your optical box. Acrylic paints are ideal because they adhere well to plastic and metal and dry quickly for a permanent finish.

• Use a flat brush to apply the base coat evenly.
• Allow the paint to dry for 10-15 minutes before applying additional layers. This prevents streaks and ensures a solid color.

Note:

Acrylic paint dries darker than it appears when wet. Keep this in mind while mixing and selecting colors.

Step 4: Design Your Motif

Once the base coat is dry, it’s time to draw the design you want to paint. Use a pencil or fine-tipped marker to lightly sketch your motif.

Ideas for Motifs:

• Geometric patterns for a modern look
• Floral for a soft, feminine touch
• Abstract shapes for an artistic vibe
• Monochrome designs for minimalism

Whether you prefer vibrant, colorful designs or simple monochrome patterns, let your creativity flow.

Step 5: Bring Your Design to Life

With your motif sketched, use smaller brushes to fill in details and bring your design to life. Start with larger sections before moving to fine details. If you’re adding multiple colors, let each layer dry before applying the next to avoid smudging.

Tip:

Experiment with gradients, shading, or texture to add depth to your design. Sponges and palette knives can help achieve unique effects.

Step 6: Let It Dry and Finish

After painting, let your box dry completely. This step is crucial to ensure your hard work stays intact. Once dry, you can apply a varnish to seal and protect the paint. This gives the box a polished, professional finish and increases its durability.

Be careful before applying varnish; ensure the box is completely dry. Use permanent colors that won’t smudge or mix, preserving your design perfectly.

Step 7: Enjoy and Share Your Creation

Your optical box is now a functional piece of art! Use it to store your glasses or as a decorative piece. Each time you see it, you’ll have the satisfaction of knowing it’s uniquely yours.

Bonus:

Create a collection! Experiment with different designs and themes for all your optical boxes. These make thoughtful, personalized gifts for friends and family too.

Final Thoughts

Repurposing optical glass boxes is a fun and eco-friendly way to express your creativity. By following these steps, you can turn something ordinary into an extraordinary reflection of your style.

I hope you enjoyed this tutorial and feel inspired to try it yourself. Remember, there are no rules when it comes to art—just have fun and keep creating!

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.

Materials You Will Need:

• Mousse plastique (used to protect fruits) – ideally in white and yellow
• Scissors
• Glue
• A stick or small branch of a tree
• Green crepe paper
• Yarn
• Flower tape

1. Gathering Your Materials

For this project, I used mousse plastique, the kind often found wrapped around fruits to protect them. It’s a great material to work with because of its light and flexible texture, but be careful—it’s fragile and requires patience.

Along with the mousse plastique, you’ll need a pair of sharp scissors, some glue, a small branch (I love using natural materials like branches to give the flower a realistic touch), green crepe paper for the leaves, and flower tape to finish the piece. All of these materials are easy to find and often already available in your home.

2. Preparing the Mousse Plastique

To start, I chose white and yellow mousse plastique for my Kadam flower. First, I separated the yarn-like structure of the mousse by hand. You can also use scissors to cut it into finer strands, but I find hand separation allows for a more natural texture.

Next, I cut the white mousse pieces a bit longer than the yellow ones, which will give the flower a realistic gradient from its yellow center to the white outer layer. Each piece needs to be small but long enough to form a pompom later on.

3. Creating the Pom-Pom Flower Head

Once I had the pieces ready, I took some yarn and tightly tied the mousse strands together in the middle. This forms the foundation of the Kadam flower’s spherical shape. After tying, I fluffed out the mousse pieces to create a rounded, pompom-like shape.

Tip: Use scissors to trim the edges evenly, ensuring a smooth, round flower head. I recommend doing this step carefully because it helps the pompom resemble the dense, globe-shaped clusters of a real Kadam flower.

4. Attaching the Flower to a Branch

For the stem, I love using natural materials, so I collected a small branch from a tree. The rough, natural texture of the branch contrasts beautifully with the softness of the pompom flower.

I applied glue to the base of the pompom and pressed it firmly onto the branch. Be sure to hold it in place for a minute or two, allowing the glue to set. If you find the pompom isn’t sticking well, you can also wrap a bit of yarn around the base for extra support.

5. Making and Adding the Leaves

Next, I used green crepe paper to make the leaves. Cut the paper into leaf shapes, making sure the size is proportional to the flower and branch. Crepe paper has a flexible texture, so you can give the leaves a slight curve to mimic real leaves.

I glued the leaves along the branch, arranging them in a natural pattern. To secure them better, I used a little bit of thread to fix the leaves more securely. After that, I wrapped flower tape around the branch to cover the thread, giving the branch a polished and cohesive look.

6. Final Touches

The flower tape not only helps hide imperfections but also provides a more finished look, making your Kadam flower appear more lifelike. Once the tape is in place, take a moment to adjust the shape of the flower head and leaves.

And that’s it! You’ve created a beautiful, handmade Kadam flower using recycled materials. It’s a simple yet delicate project that brings joy not only because of the process but because of the memories it evokes.

The Significance of Kadam Flower (Neolamarckia cadamba)

The Kadam flower holds a special place in Bangladeshi culture, particularly during the rainy season when it blooms in abundance. It’s known for its fragrant, globe-shaped flowers that are often used in perfumes.

With its bright orange flowers clustered in dense, ball-shaped heads, the Kadam tree can grow up to 45 meters (148 feet) tall. It’s not just admired for its beauty but also plays a role in the ecosystems of South and Southeast Asia. The tree is also celebrated in Indian religion and mythology, making it a symbol of joy and vitality.

Why This Project Brings Me Joy

As a child, I used to make Kadam flowers for fun, and recreating them now as an adult brings back fond memories. This project made me happy not only because I was able to recycle materials but because it connected me with my past.

I encourage you to try this project in your free time—it’s a wonderful way to spend a creative afternoon and honor the beauty of nature. Whether you’re familiar with the Kadam flower or not, this simple DIY creation is a fun way to explore the wonders of handmade art.

Happy DIY creating!

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.

After earning my master’s degree, I gained two years of professional experience (from September 2016 to September 2018) by working at the International Hope School Bangladesh and the Alliance Française in Chittagong. Dr. Selvam Thorez, the former director of the Alliance Française in Chittagong, supported me in the administrative processes for participating in residency programs and securing a scholarship.

In 2018, I joined the Institut Supérieur des Beaux-Arts de Besançon, where I began the second year of the Diplôme National d’Art (DNA), which I completed in 2020. In 2022, I earned the Diplôme National Supérieur d’Expression Plastique (DNSEP), also from the Institut Supérieur des Beaux-Arts de Besançon.

Throughout these years, I explored a wide range of artistic techniques, both in traditional and contemporary art, including sketching, watercolor, painting, printmaking, installation, and performance art.

During my studies at the ISBA, I took part in several study trips to cities such as Essen, Vienna, Bolzano, Verona, Zurich, Como, Basel, and the island of Elba. These journeys allowed me to visit numerous museums, including the Folkwang Museum in Essen, the Kunsthistorisches Museum in Vienna, the Kunstmuseum Basel, the Fondation Beyeler, the Consortium Museum, and the GTA Archive.

From October 2020 to March 2021, I had the opportunity to spend six months on an Erasmus exchange at the Academy of Fine Arts in Dresden, Germany (HFBK), where I worked under the guidance of sculptor Carl Emanuel Wolff. I also attended theoretical courses on Romantic art and German Expressionism. Although many classes and exhibitions were canceled due to the COVID-19 pandemic, I was fortunate to form friendships with other international students living in my dormitory.

During my time in Dresden, I learned engraving and typography techniques from artists Hanif Lehmann and Christine Wahl. This experience not only enriched my artistic practice but also allowed me to immerse myself in different cultures while remaining in Germany.

In 2022-2023, I earned a professional degree in Exhibition Professions and Information Technology from the University of Franche-Comté in Besançon. This program included a three-month internship, where I applied my knowledge in art history, archaeology legislation, guiding techniques, and other related fields.

My internship at the Municipal Museum of Pontarlier and the Château de Joux provided me with the opportunity to put these skills into practice in a professional setting. This experience allowed me not only to pursue my passion for the subjects covered by the museum but also to enhance the value of this historical site for a diverse audience while meeting the museum’s objectives.

This was my first true immersion into the working world, with its constraints, hierarchies, schedules, and responsibilities. The experience proved to be incredibly rewarding. Beyond the daily tasks, I received constructive feedback that significantly strengthened my professional outlook and maturity.
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Cultural mediation is a fascinating field where students play a key role in implementing initiatives that promote interaction and understanding between different cultures. Located near the Swiss border, Pontarlier attracts visitors from Switzerland, Germany, and, due to the influence of Toussaint Louverture, even from Haiti.

During this internship, I explored the long-term management of a museum site, where the dynamics largely depend on individual efforts to animate this place of memory. I had the opportunity to work with a diverse audience, welcome visitors, create educational materials for students of all levels, and prepare activities for the European Museum Days 2023, as well as a temporary exhibition dedicated to Pierre Bichet.

This internship, with its 7-hour workdays and 5-day workweeks, provided me with a comprehensive and varied experience. It allowed me to develop different working methods, each requiring a commitment of time, creativity, and efficiency. Thanks to the heritage service of the City Hall, which initiates numerous heritage and cultural projects, I was able to contribute to a rich entertainment offering for both local and international visitors.

Humanities Degree

Currently pursuing a Bachelor’s degree in Humanities at the University of Rennes 2, I am specializing in Classical and Modern European Cultures. This program enriches my knowledge in European history, literature, and art history. I am deeply convinced that our cultural differences are the driving force behind creativity. In a constantly evolving world, my goal is to use my experiences as a creator and my knowledge to foster the sharing and discovery of other artists. I aim to help them amplify their voices and gain recognition.

Why I Chose This Degree

To clarify why I chose to apply to the University of Rennes 2 and what I have discovered during this course:

After obtaining my professional degree in Exhibition Professions and Information Technology (LP METI), I faced crucial decisions regarding the future direction of my career. I was torn between pursuing a degree in art history or modern literature. The prospect of working in a museum after graduation resonated with my previous experiences. I had a particular interest in roles such as collection manager, curator, and exhibition organizer. However, I realized that to achieve my professional and artistic goals, it was essential to deepen my understanding of art history, particularly European history. That is why I chose to enroll in the program at the University of Rennes 2, knowing it would be beneficial for my future endeavors.

This reformulation clearly distinguishes the initial motivations for enrolling in university and the discoveries made during the training.

Materials You Will Need

Before we dive into the step-by-step process, let’s start with gathering the essential materials. For this project, you’ll need:

• Crepe Paper: I’m using red for the petals and green for the leaves and the rose’s base. You can choose different colors depending on the type of rose you want to create.
• Scissors: A sharp pair of scissors to cut the crepe paper precisely.
• Glue: Any craft glue will work, but hot glue can be used for a stronger hold.
• Thread: This will help secure the petals as you assemble the rose.
• Flower Tape: Essential for wrapping the stem and leaves, giving your rose a polished look.
• A Stick: I’m using a real branch to give a natural appearance to the stem, but you can use a floral wire or a skewer if you prefer.

Step-by-Step Instructions to Make a Crepe Paper Rose

Step 1: Prepare the Petals

1. Cut the Crepe Paper: Begin by cutting the red crepe paper into squares of different sizes, each around 2-3 centimeters. These squares will be used to form the petals of the rose.
2. Shape the Petals: After cutting the squares, use your scissors to trim the corners and edges, shaping them into petals. The number of petals you use will determine the fullness of your rose, but I recommend starting with about 10-12 petals for a balanced look.

Step 2: Shape the Petals

1. Roll the Petals: Take each petal and gently roll the edges using a pencil or pen. This will give them a natural curl, mimicking the delicate curves of real rose petals.
2. Stretch the Petals: To further enhance the realistic look, gently stretch the center of each petal. This will create a slight concave shape, making the petals look more lifelike.

Step 3: Assemble the Rose

1. Attach the Petals to the Stick: Start by gluing the first petal directly onto the stick (your branch or floral wire). Wrap it around the top of the stick, securing it with glue. As you add more petals, overlap them slightly and continue wrapping them around the stick to create a blooming effect.
2. Secure with Thread: As you glue each petal, you can also use thread to tightly wrap around the base of the petals. This ensures they stay in place and don’t shift as you continue building the rose. If you’re using hot glue, work quickly to attach the petals before the glue dries.

Step 4: Add the Leaves and Base

1. Cut the Leaves: Using the green crepe paper, cut out leaf shapes. You can make them as large or as small as you prefer. For a realistic touch, I like to use three pieces of metal wire, which I insert into the leaves to give them structure.
2. Create the Base of the Rose: Cut a small piece of green crepe paper (about 2.5 cm) and make zigzag or triangular cuts along one side. This piece will be glued around the base of the rose, giving it a finished look.
3. Attach the Leaves: Attach the leaves to the stem using glue, positioning them slightly below the petals. Use flower tape to wrap the base of the leaves and cover any exposed metal wire.

Step 5: Final Touches

1. Wrap the Stem: If you’re using a floral wire or skewer as your stem, wrap it with flower tape to cover it completely. If you’re using a real branch like I did, you might want to leave it exposed for a more natural look.
2. Adjust the Petals: Once everything is assembled, take a moment to adjust the petals and leaves, ensuring they look balanced and natural.

Conclusion

Creating a handmade rose from crepe paper is a meditative and rewarding craft. Not only does it allow you to make something beautiful, but it also offers a personal touch when given as a gift. Whether you use your rose as a decoration piece or as a heartfelt gift, the recipient is sure to appreciate the time and love you put into making it. Plus, it’s a great way to save money while still giving something truly special.

Happy crafting!