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.

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

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

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

Yves Marre and His Unforgettable Contribution

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

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

Preserving the Moon Boat: A Heritage at Risk

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

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

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

Boats in My Art: An Ongoing Exploration

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

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

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

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

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

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

The Artistic Hub: La Friche Artistique

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

Civic Engagement and Collective Participation

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

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

Biennale 2025: An Event Not to Be Missed

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

Conclusion

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

As a foreign student in France, participating in the Erasmus program was not obligatory for me. However, my curiosity and the inspiration I received from my teacher, Rainer Oldendorf, at ISBA drove me to explore this opportunity. With a deep admiration for German Expressionism, I chose to apply to the Academy of Fine Arts Dresden (HfBK). The academy’s rich history, combined with the enchanting images of Dresden I found online, solidified my decision. From October 2020 to March 2021, I embarked on a six-month journey that would become one of the most joyful and transformative periods of my life.

Navigating the Challenges of a Pandemic

Upon arrival, I worked under the guidance of sculptor Carl Emanuel Wolff, diving into theoretical courses on Romantic art and German Expressionism. This period was marked by the challenges posed by the COVID-19 pandemic, which led to the cancellation of many courses and exhibitions. Despite these setbacks, I found solace and camaraderie among the international students in my accommodation, sharing experiences and forging lifelong friendships.

A City of Inspiration

Dresden, with its stunning architecture and rich cultural heritage, offered me endless inspiration. I visited numerous museums and castles, immersing myself in the works of German masters, particularly the mesmerizing landscapes of Caspar David Friedrich. The city itself felt like an open-air museum, a perfect blend of history and art.

Meeting Local Artists: Hanif Lehmann and Christine Wahl

One of the most memorable aspects of my time in Dresden was meeting local artists Hanif Lehmann and Christine Wahl. Hanif, in particular, played a significant role in my artistic development. Born in Rochlitz, Saxony, in 1971, Hanif studied painting and graphics at HfBK Dresden under esteemed artists like Siegfried Klotz and Claus Weidensdorfer. Since 1998, he has been a freelance artist, running his own printing workshop, the Widukind-Presse Dresden.

A Studio of Warmth and Creativity

Hanif’s warm hospitality, despite the language barrier, made me feel at home. He often invited me to his studio, where we shared cups of warm coffee, and he introduced me to printmaking and typography techniques. I had never tried etching before, but Hanif’s encouragement and expertise opened a new world for me. His studio was a haven during the pandemic, a place where creativity thrived despite the closed doors of the city.

Exploring Hanif’s Artistic World

Hanif’s work is characterized by his unique style, often focusing on still life, train stations, and social issues. He has also created numerous portraits of people from around the world. His participation in book fairs and residency programs across the globe has enriched his artistic perspective. The 36th Leipzig Graphic Arts Fair, which features over 100 artists and explores the theme of “hortus secretus,” highlights Hanif’s commitment to the art of printmaking. His contributions to the fair, along with other artists from Saxony, Saxony-Anhalt, and Thuringia, showcase a diverse range of interpretations, from concrete garden scenes to fantastical creations.

The Value of Friendship and Mentorship

Despite the challenges of the pandemic, my time in Dresden was invaluable. Hanif’s generosity extended beyond art; he became a friend and mentor. His fluent English and keen interest in music and history made our conversations enlightening and enjoyable. The opportunity to work with him, especially in his printing workshop, was a highlight of my Erasmus experience. We explored various printmaking techniques and experimented with mixed forms, even practicing bookbinding when academy courses were unavailable.

A Journey of Cultural Immersion

This experience in Dresden was more than an academic exchange; it was a profound cultural immersion. I discovered the nuances of German Expressionism and Romanticism, learned new artistic techniques, and, most importantly, formed lasting connections with people who enriched my journey. The friendships I made, the art I explored, and the challenges I overcame made this Erasmus adventure unforgettable. It reminded me of the beauty of stepping out of one’s comfort zone and the joy of embracing new experiences.

Christine has lived in Paris as well as abroad, working in very diverse environments that have influenced and enriched her work. From Berlin, where she exhibited for the first time in 1978, to Guadeloupe, Cameroon, Cyprus, Greece, and Burkina Faso, she has perfected a unique style and narrative technique that make her a complete artist.

The Beginning of a Friendship

Christine Robion is not just my favorite artist; she is also a close friend, almost like family. Our meeting is all the more remarkable given the difference in age and nationality. In July 2015, I began learning French at the Alliance Française in Chittagong, Bangladesh, an institution that organizes language courses and cultural events. In 2016, the Alliance Française of Chittagong invited Christine Robion for an artist residency, due to her interest in the Bengali language and her book on the life of a boy from Chittagong who migrated to France.

As a student of Fine Arts in Chittagong and the Alliance Française, I had the chance to participate in a workshop with Christine Robion. To better understand her work, we were given her book “La vie rêvée de Chotan Barua.” Unfortunately, in July 2016, a terrorist attack in Bangladesh led to the cancellation of the residency for safety reasons. It was a sad moment, and Christine’s writings and works deeply touched me. I wrote her a message on Facebook, and we have stayed in touch ever since.

Reunions in France

In 2018, I had the opportunity to come to France for a two-month residency at ISBA, where I met Christine in person for the first time. This meeting was a key moment in my artistic journey. In 2022, I participated in a two-week workshop with Christine and an exhibition at the Trévron town hall. This exhibition, titled “Regards Croisés,” highlighted our personal interpretation of Celtic crosses, symbols ubiquitous in the Trévron region.

The exhibition’s opening took place on Thursday, February 24, at 6 PM at the Trévron town hall. We have painted twenty-four 30×30 cm canvases, inspired by Breton heritage, especially the crosses and locks of the region. This experience was of paramount importance to me. It allowed me to discover the rich heritage of Brittany and inspired me to settle there.

Inspired by Brittany

During the second day of the exhibition, we invited students from the Trévron school to visit the exhibition and draw the crosses they saw around them. This interaction with the young students deeply inspired me and reinforced my desire to immerse myself further in Breton culture.

My journey with Christine Robion perfectly illustrates how art transcends borders and cultural differences. Our collaboration and friendship have not only enriched my artistic experience but also broadened my personal and professional horizons. Christine taught me the importance of storytelling in art and how each work can tell a unique and powerful story.

A Decisive Turning Point

In conclusion, my encounter with Christine Robion was a decisive turning point in my artistic career. She offered me invaluable opportunities and inspired me to continue exploring and expressing my vision through art. Her influence on my work is undeniable, and I am grateful for every moment shared with her. Through our collaborations, I learned that art is a universal language capable of creating deep and lasting connections between individuals, regardless of their origins or backgrounds.

Thus, my experience with Christine Robion and our exhibition “Regards Croisés” represents not only a fusion of our artistic talents but also a testament to the friendship and mutual inspiration that can arise from the meeting of two worlds.

A Journey into Local Art

During my internship, I was immersed in various tasks, from curatorial duties to engaging with museum visitors. This hands-on experience provided invaluable insights into museum operations and the intricacies of art preservation. However, the most profound learning came from the museum’s extensive collection of local art, particularly the works of Pierre Bichet.

Pierre Bichet, born on November 29, 1922, in Pontarlier and passed away on February 18, 2008, in the same town, was a multifaceted artist. Renowned for his snowy landscapes, especially those of the Jura mountains, Bichet was also a filmmaker and speleologist. His collaborations with the famous volcanologist Haroun Tazieff, spanning nearly forty years, highlight his adventurous spirit and diverse talents.

The Life and Legacy of Pierre Bichet

Pierre Bichet’s life was as rich and varied as his artistic oeuvre. His early years in Pontarlier and Morteau were filled with influences that steered him towards art. A chance encounter with four young artists at an exhibition across from his family home ignited his passion for painting. This early exposure led him to pursue formal art education, even as World War II interrupted his studies and forced him into a tumultuous period of resistance and survival.

After the war, Bichet resumed his art studies and embarked on a journey that would see him becoming an integral part of the Pontarlier art community. His marriage to Suzanne Duval, with whom he had five children, anchored his personal life while his professional life flourished. Bichet’s works, especially his lithographs, became iconic representations of Jura’s landscapes.

The Exhibition: Honoring Pierre Bichet

In July 2023, the Pontarlier Museum organized a special exhibition to honor Pierre Bichet, featuring artworks donated by his family. This event was not just a tribute to his artistic genius but also a celebration of his contributions to the local community. Bichet’s landscapes, particularly his “grandes neiges” series, captured the serene beauty and harsh realities of Jura’s winters with unmatched emotional depth and technical skill.

Bichet’s Artistic Evolution

Bichet’s artistic journey is marked by an evolution from early figurative works to later abstract landscapes. His early paintings often featured allegorical and religious themes, as well as scenes from everyday life in Haut-Doubs. However, from the 1960s onwards, his focus shifted predominantly to landscapes, capturing the silence, cold, and light of winter with a unique cinematic scope.

The 1980s were a particularly challenging period for Bichet, marked by personal tragedies. Despite these hardships, his work continued to evolve, with his palette simplifying and his compositions becoming more profound and introspective. His late works, especially those depicting vast snowy landscapes, remain some of the most evocative portrayals of Jura’s natural beauty.

Discovering Bichet’s Lithographs

One of the most exciting aspects of my internship was the opportunity to explore Bichet’s lithographs. These works, often characterized by their elongated formats and intricate details, offer a different perspective on Jura’s landscapes. Bichet’s lithographs, influenced by his travels to Japan and his collaborations with other artists, are a testament to his versatility and mastery of different media.

Visiting Bichet’s house and studio in Pontarlier was a highlight of my internship. It was here that I truly appreciated the depth of his connection to Jura and his dedication to portraying its essence. Almost every family in the region has a piece of his artwork, a testament to his impact on the local culture.

Conclusion

My internship at the Pontarlier Municipal Museum was a transformative experience that deepened my appreciation for local art and history. Discovering the work of Pierre Bichet was particularly significant, offering insights into the life and legacy of an artist who profoundly shaped the cultural landscape of Jura. Bichet’s art, especially his lithographs, continues to inspire and resonate, capturing the timeless beauty of his beloved Jura.

In 2011-12, during my second year at the Institute of Fine Arts of the University of Chittagong, I encountered the realism art movement through an art history class. This was when I discovered the works of Gustave Courbet, a French artist renowned for his dedication to depicting life as it is, devoid of embellishment. His commitment to realism fascinated me and profoundly influenced my artistic journey.

In 2018, I participated in an art residency program and later studied at the Institute of Fine Arts in Besançon (ISBA). Learning that Courbet hailed from this region and that his hometown, Ornans, was nearby, was thrilling. Ornans, often likened to a small Venice with its canals and natural beauty, inspired many of Courbet’s landscapes. Visiting the Gustave Courbet Museum and his studio in Ornans was a profound experience. I also had the opportunity to see significant collections of his works at the Art Museum of Besançon, the Musée d’Orsay in Paris, and the Musée Fabre in Montpellier.

Initially, Courbet’s super realistic art captivated me with its visual appeal. However, as I delved deeper, I realized his works were not just visually realistic but also a profound manifestation of the societal realities of his time.

Reflecting on Artistic Responsibility

In a text I wrote on October 15, 2019, I grappled with some deeply personal and chaotic thoughts about the role of an artist in society:

“As an art student, I often wonder: What is the artist’s responsibility to society or the state? Is there any responsibility at all? If yes, how much do we practice it, or even realize it? In my opinion, artists should protest against social, political, and economic inconsistencies or various problems of a country.

From famine, the language movement, and the war of independence to anti-authoritarian movements—where have artists not contributed? Sadly, at present, no one seems to have the courage to address the various problems of the country. Artists seem confined within the small area of their studios, focusing on personal benefits. No time to think about the country, society, and the people. Or perhaps they don’t want to think, or lack the courage to reflect on these issues.”

During a museum visit as part of a workshop, I observed a woman guiding tourists through famous artworks. She explained Courbet’s “Killing a Deer/A Deer Hunt” with enthusiasm. Although I had seen the painting many times before and admired its details, that day, I felt an urge to escape from it. As everyone discussed the violence depicted—the 22 dogs killing a deer, the master on horseback whipping them—I saw the faces in the painting morph into something more violent, mirroring the current societal realities.

I told a friend to create a cartoon similar to that painting, but he was afraid. Fear of depicting the real scenario of our country and its political situation—can this be the image of a democratic state? Where no one has freedom of speech, and fear of death looms, we are dying a thousand times every day.

The Current Situation in Bangladesh

Since December 14, 1971, my motherland has lost many heroic intellectuals. Today, the pain of losing them is compounded by the presence of educated individuals who perpetuate injustice and anarchy. The uneducated, semi-educated peasants, workers, and laborers of the villages seem to possess more humanity and morality than these so-called educated elites.

The tragic death of Abrar Fahad at BUET in 2019 underscored the dangers students face when speaking out against injustice. Today, the situation remains grim, with terrorist groups like the Chatra League, supported by the government and police, attacking students across universities. On July 15, 2024, we find ourselves in the same dire situation, with thousands of students under attack by the Chatra League and police, backed by the government.

The Exodus of Talent and the Uncertain Future

There was a time when Bangladeshi students who studied abroad returned to contribute to their homeland. However, now, 99% of Bangladeshi students seek any opportunity to leave the country permanently. This brain drain is alarming, as the nation loses its brightest minds to a climate of fear and repression.

Education that does not teach humanity and morality but instead promotes anarchy and injustice is not education at all. The current climate in Bangladesh, where students are terrorized and freedom of speech is stifled, paints a grim picture of our future.

As artists, we must question our role and responsibility in such tumultuous times. Inspired by Courbet’s dedication to portraying societal realities, we should strive to reflect and challenge the injustices around us, despite the risks. Our silence only perpetuates the violence and repression that threaten to engulf our society.

The Unforgettable First Ride

When did you first get on a bus, rickshaw, taxi, or boat? Can you remember? I can’t. The memories of my first rides on various modes of transportation are lost to time. However, I vividly remember my first train ride in 2006 to Chittagong University. The shuttle train was unlike any other train. It was a magic vehicle, where sitting at the door, in front of the engine, or even climbing on the roof, remains an indelible memory.

The Heart of University Life

As a native of Chittagong and a student of Chittagong University, the shuttle train is the essence of my university experience. An epic could be written about the university shuttles, but my limited writing skills can only hint at its grandeur. One of our respected teachers once shared his astonishment at how students from all over the country travel from villages to towns to study, while a group of passionate students from Chittagong embark on an hour-long train journey to the village for education.

Childhood Dreams and Realities

Growing up, I was fascinated by Shamsur Rahman‘s poem that went:
“Jhak jhak jhak, the train is running
Ai at midnight.
The train is moving, the train is moving
Where is the train house?”

As a child, I dreamed of riding a train, often writing essays about boat or train trips based on others’ stories. The day I finally boarded the shuttle to my dream university was magical. My love for the shuttle and the campus ignited on that first day and has only grown stronger over the years.

Capturing the Essence of the Shuttle Train

It was an integral part of life, catching the 7:50 AM train from Sholashahar Junction to reach campus, and returning by the 5:20 PM train. Every student at Chittagong University understands that the shuttle is more than just a train—it’s a harbinger of a thousand dreams; a melody of hope and despair. The shuttle is inseparable from music, nurturing the birth of many famous singers from Chittagong.

“University days are fading away,
The bright and spectral days vanish into thin air.”

The journey from city to campus or vice versa took a minimum of 45 to 50 minutes. Amidst music and the beauty of nature, this time passed swiftly. Passing through Battali, Jhautala, SholaShahar, Cantonment, Chowdhury Hat, Fatehabad, and numerous other landmarks, we arrived at our beloved campus, greeted by expansive paddy fields, forests, and hills. Fatigue could not weigh us down; instead, we grew more vibrant with each passing moment.

The shuttle compartments were as colorful as the dreams of university students, each one a canvas for their creativity. Students took it upon themselves to paint these compartments, turning them into vibrant reflections of their aspirations. Each compartment bore a unique name, adding to the train’s individual charm and character, like Mohapapi, Always, CFC, Orion, Epitaph, Akakar, sixty nine (69), meteor, VX, victory, Concord, Cockpit, Khaitya kha, Sampan, Ulka, Red Signal, Fatafati, Charki, Virus and many more beautiful names.

Capturing the Magic of the Shuttle Train in Art

The shuttle train is a place where dreams are woven, love stories are penned, and sorrows are drummed away. It’s like The Polar Express to a fairy-tale world, with no tickets or fares for students. An annual fare is insignificant compared to the joy of boarding the shuttle, which is free for admission test takers and other travellers.

Every day was an adventure, from securing spots for friends to sharing Hog plums and jhalmuri. Jumping on a moving train felt like a scene from “Dilwale Dulhania Le Jayenge,” evoking the iconic Raj-Simran moment. The shuttle was the beginning and end of many love stories. Inspired by this vibrant culture, countless pieces of music and films have been created, celebrating the shuttle’s unique spirit.

In 2017, I had the opportunity to bring this inspiration to life through art. Collaborating with a friend, we created a wall painting for the “6teen Café and Bistro” in Chittagong. The artwork was themed around the iconic shuttle train of the University of Chittagong, capturing its essence and the joy it brings to students.

This commission work stands as a testament to the enduring charm of the shuttle train, a beloved symbol of my university days and a source of endless creative inspiration.

Unique in the World

Chittagong University stands out globally for its unique train service for students, set against a backdrop of stunning nature, mountains, and fountains. It even has its own museum. The famous “Jhupri Ghor” of Kala Bhavan, with its delicious foods, has mesmerized students for generations.

A Lasting Love

Though it has been a long time since I last visited the university campus, and despite taking various trains both home and abroad, nothing compares to the shuttle. It has changed over the years, its colors not the same, but my love for the shuttle train remains unchanged. I still feel its colors and smell the love. I will always love Chittagong University.

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

The Discovery of France and its Cultural Contrasts

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

Bangladeshi Architecture: A Rich and Fragile Heritage

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

The Influence of French architecture on My Art

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

My Journey in France: From Discovery to Inspiration

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

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

Architectural Evolution and the Loss of Heritage

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

Celebrating and Preserving Cultural Heritage

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

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

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

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

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

Fusion: Tradition and Modernity

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

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

An artistic collage between past and present

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

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

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

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

Reflection on architectural evolution through art

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

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