Plunging deep into cultural heritage and the melancholy of masses
Proshanta Karmakar Buddha\'s show opens today at Radius Gallery
Published : Friday, 20 September, 2019 at 12:00 AM Count : 146
Proshanta Karmakar Buddha's show opens today at Radius Gallery
Noted artist Proshanta Karmakar Buddha lends his strong voice through pure realism. He does not confine himself with any singular theme and working process. He has worked on varied themes and has always tried to capture the theme's minutiae through his personal language and style. He is sincere, dedicated and workaholic by nature. Experimentation is his forte and he has been continuously experimenting through hues, lines and overall configuration of forms, compositions and figural presentation.
Radius Gallery in Gulshan has organised a 30-day long solo art exhibition by noted artist Proshanta Karmakar Buddha. The exhibition will inaugurate today. National Professor Anisuzzaman will inaugurate the exhibition as the chief guest. Sabah Saleheen Azim, Director of Global Subsidiaries, Standard Chartered Bank; Sriya Sharbojoya, managing director, Out of Blue-Design Studio, Asiatic 360; and Kate Jaro Khan, Deputy Head of H.R.D Cosmos Group will be present as special guests.
Liberation War, Language Movement and cultural heritage are some of the recurring themes of noted artist Proshanta Karmakar's artworks. Proshanta is mainly a printmaker (mainly etching). In recent years, he has developed his skills in painting (particularly acrylic). The medium provides a spontaneous and alluring look to his creations.
Scattered corpses of the martyred intellectuals at the Rayerbazar killing field and other scenes of 1971 are seen in his paintings and prints. Cruelty of war made a major impact on Proshanta's psyche. People dying while fighting for an independent Bangladesh in 1971 has been depicted in several of his paintings. While the war killed many, others lost their near and dear ones, and many were left permanently wounded -- physically and psychologically. As a painter, Proshanta wanted to document the pain, anguish and struggles of the people on his canvas.
The artist identifies himself with the cultural heritage of the country. Liberation War and the valiant expressions of the freedom fighters have been articulated in his works remarkably. Fearless force in the form of horses, bold eyes and Bengali letters is a recurring theme in his paintings. His mode of expression is realistic and movement of the subjects is the key element in his works.
Several of Proshanta's acrylic- based paintings highlight two themes---- structural heritage of the country and the misery of common Bangladeshis.
Proshanta has highlighted the significant architectural heritage of the country. He visited locations and drew them with his personal touch. He feels a strong link with simple structural designs and compositions. The painter says, "Dhaka, which once had the highest number of heritage buildings, is fast losing them. Twenty or 25 years back, the country in total had 600 heritage structures that have dwindled to only 350. The government should amend the law to enable maintenance of historical buildings of the country."
The painter has also painted varied sized books in shelves. About this rather innocent theme, the artist said, "The theme's main aim is to increase the reading habit, broaden the intellectual faculty and promote creativity. I always feel there might be some limitations in our formal education system. The series of paintings has emphasised on the significance of reading books. The painting highlights the significance of cultivating the reading habit."
Proshanta has held several solo and group exhibitions in different parts of the world and has received a number of prestigious awards. He has done a series of works articulating riverine life, the Bede (gypsy) lifestyle, Liberation War, Language Movement and other subjects.
Sandals, empty pots, flowers, women's visage, and their children are common subjects in his works. At different solo and group exhibitions, Proshanto focuses on diverse subjects which are closely connected to our social, political and urban environment. Some of his prints highlight the lives of snake charmers.
In the series of paintings, Proshanto has used a variety of colours ranging from black to strokes of crimson, yellow, gray, green, blue etc. The figures and other objects are black, with varied dots of brighter hues to highlight them.
Many of Proshanta's images reflect anger, frustration, suffering, death, destruction and his subjects summarise the misery of common Bangladeshis in times of war and politics as well as economic turmoil. Proshanto maintains on canvases where he has articulated public frustration and hopelessness.
As an earnest painter and printmaker, Proshanto feels that he has some responsibility to his country. He records time, history and incidents. His language is bold and can be easily comprehended as he uses the canvas to protest brutality, inequality, political chaos, bigotry and violence. Most of his works highlight figures, and figures are connected to the objects that he has used in his serigraphs, acrylic and mixed media works.
The war of 1971 and the valiant expressions of the freedom fighters find a significant place in both his prints and paintings. His mode of expression is realistic, and lines and compositions are the key elements in his works. Black is the predominant shade in his works and the artist has experimented with layers of this colour.
Proshanto says, "While the war killed many, making the survivors to lose their near and dear ones, many others were left permanently wounded -- physically and psychologically. As a painter, I wanted to document the pain, anguish and struggles of these people on my canvas."
An introspective and imaginative painter, Proshanta has taken his colours from nature and that is why colour is the most significant aspect in his paintings. He likes to experiment with colour in all its various facets. The painter submits colour directly, piling up thick layers on the canvas. He has concentrated on applying colours. Sometimes deep layers of colours provide a unique texture to his canvas and that is why his canvas carries a singular hallmark.