Page 290 - Art and Crafts of Bangladesh

WOMEN ARTISTS 287

born of the sub-conscious. fig. 7.26 (top) Niloofar
She uses and establishes Chaman, Virgin in a
particular symbols which Rocky Mountain, mixed
represent the oppression and media, 1992
helplessness of women in
society (fig. 7.28). The fig. 7.27 (bottom)
elements used in her Fareha Zeba, Twilight
composition come quite close Magic-2, 2003
to reality, but not exactly and
a variety of geometric lines
and shapes create a shallow
and unreal space in her
canvas. According to Abul
Mansur, ‘. . . to understand an
artist like Anne one must
consider her femininity or
else the assessment will not be complete . . . woman is at the center of the entire
pictorial space.’ [Trans.]
48
Niloofar Chaman (1962- ) is another female artist who has completely ignored the
language of established mainstream art in Bangladesh and gone her own way. 49
Niloofar’s colors are sharp, her forms figural, floating in water and in the process of
transformation. Humans, animals and plants are portrayed with equal importance on
her canvas. It is as though they are not separated, but pervade each other. The endless
cycle of sexuality and reproduction in a water-flooded universe gives her work a
distinction (fig. 7.26). Abul Mansur wrote, ‘Although she is deeply hurt and revolted
by the organized barbarities and depravity of man, she
adopts the means of allegorical expressionism, rather than
the direct statement, for her intensely subjective feelings.’ 50
Traditional symbols such as the hand, lotus etc. are used in
her current work. Her installations are also significant.
Kanak Chanpa Chakma’s (1963- ) source of inspiration is
the daily life of the Chakma people and the natural beauty
of her birthplace, Rangamati. She uses the accepted
language of mainstream art to represent traditional subjects
(fig. 7.29). The different activities of women are the prime
focus of her work.
Nasima Haque Mitu (1967- ) has selected the carving
technique in sculpture. Her work is unique for the use of very
simple and pure yet meaningful and symbolic forms (fig. 7.30).
It is as if the intent is to seek inner meaning, not to explain. Her
work expresses the dichotomy and the relationship between the
male and the female in a very subtle way.