In Search of the Mangrove Goddess
Exploring the Sundarbans’ cryptic mangroves may be a weird, larger-than-life experience. When danger occurs in this wide wilderness, instinct frequently prompts one to seek spiritual protection. In such cases, the Sundarbans’ guardian spirit—Bon Bibi or Bono Bibi—is invoked. Bon Bibi is revered by the local forest dwellers as the divine guardian of the region’s treacherous environment. From April 4 to April 20, the Kalakendra gallery at the capital’s Lalmatia featured “In Quest of Bono-Bibi,” a mixed-media solo exhibition by artist Saidul Haque Juise. Juise, known for his precise craftsmanship, bright masks, and three-dimensional compositions, returned with a solo display following a long absence. Bon Bibi’s mythology is unique in that it combines both the Islamic and Hindu traditions, and it is commonly held that invoking her name in times of crisis promises divine assistance. The stories related to Bon Bibi are woven in a rich tapestry of mythology, which prodded Juise’s psyche when he was a child. Later in life, deeply touched by the Sundarbans’ environmental deterioration, he created this body of work as a lament and devotion to nature. This anthology, with its recurring themes of environmental concern and political overtones, combines lyrical extracts from folklore or shloks related to Bon Bibi with his own storytelling. The birth of these artworks dates back to the COVID pandemic. A time when despair loomed large. It was during this emotional upheaval that the artist Juise channeled his sorrow, frustration, and fear into a series of expressive sketches. Using vibrant shades of black, green, red, and blue— which are reminiscent of traditional Bangladeshi folk pottery— Juise stained his pages with raw emotion. Later, by combining various materials, such as twisted metal wires, paint, ink, handmade paper, newspaper pieces, etc., Juise enhanced the series even further. He was able to convey Bon Bibi’s holy force and the forest’s ethereal essence through these components. His line drawings smoothly blend with his pen and ink pieces to create complex collages that have a vibrant yet delicate vibe. In the meanwhile, the collection gains a tactile, even unearthly quality from his wire sculptures. The series gives viewers a deep feeling of Bon Bibi’s pervasive atmosphere. Along with his technical finesse, Juise added a unique Bengali flavor to the pieces. He skillfully combined the forms of people, animals, and insects to create flowing silhouettes that convey both motion and motionlessness. These shapes convey a duality: sadness that is subdued yet evident and fury that is controlled but strong. In doing so, Juise creates a collection of work that is both visually pleasing and profoundly significant by balancing artistic form with emotional weight. “In Quest of Bono-Bibi” stands much like an artistic diary that procures the artist’s personal reflections, cultural memory, and the urgent call for ecological reverence. It bridges folklore and modernity, spirituality and artistry—ultimately offering a visual testament of healing and harmony between humans and the natural world.
A City’s Story In Stitches and Strokes
Dhaka’s rapid urbanization is impossible to ignore. This city of relentless energy and transformation is a place where tradition and modernity collide amidst its bustling streets and ever-changing skyline. As the economic heart of Bangladesh, it draws thousands seeking better opportunities. But this comes at a cost: overcrowding, strained resources, and a growing disconnect between the old and the new. Against this backdrop, ShohorNama Dhaka Episode II sought to explore the city’s complexities through art. Launched in early 2024, the project brought together visual artists, architects, artisans, and students from the University of Dhaka’s Faculty of Fine Art to create a tapestry of urban narratives. And the exhibition of this project took place from February 15 to 25 at the level 4 under construction space of the capital’s Bengal Shilpalay. The exhibition was inaugurated by H.E. Marie Masdupuy, Ambassador of France to Bangladesh, on February 15, 2025. Titled after the project name, the multidisciplinary exhibition wove together the threads of urban life, resilience, and creativity. Presented by the Bengal Arts Programme in collaboration with the Britto Arts Trust, ShohorNama II was a visual love letter to Dhaka, its people, and their stories. From large appliqué tents to wood-cut prints, installations, and performance art, it was a celebration of Dhaka’s artistic topography. At its core, ShohorNama was about storytelling. One of the standout features is the Pakghor Project, a community kitchen born out of necessity during the devastating floods of 2024 in the Khulna region. Pakghor provided warm meals to 500 villagers for a week. But it became more than just a kitchen—it became a space for shared stories, resilience, and hope. The Dorjikhana Project takes a different approach, focusing on textiles and their cultural significance. Through appliqué and embroidery, artists explore the connection between traditional practices and the modern garment industry. The project also draws inspiration from Bangladesh’s fading circus traditions. Resulting in a stunning collection of textile art that speaks to both the past and the present. Another striking element of ShohorNama is its use of tents. Historically, tents have symbolized temporary shelter for nomadic communities, and in this exhibition, they represent the fluidity of migration—whether due to natural disasters, economic hardship, or political unrest. The Big Tent installation captured this impermanence, reflecting the challenges faced by marginalized communities. The exhibition also highlighted the collaborative spirit of the project. Workshops with the University of Dhaka’s Department of Printmaking and Department of Craft allowed students to contribute to large-scale works, such as woodcut prints and appliqué pieces. These workshops not only honed technical skills but also fostered a sense of shared purpose, blending individual creativity into a cohesive vision. The exhibition was a feast for the senses! As Dhaka continues to evolve, exhibitions like “ShohorNama Dhaka Episode II” remind us of the importance of preserving our stories and traditions. Through art, we can find common ground, build resilience, and imagine a better future. Written by: Shahbaz Nahian Photo: Bengal Art Foundation | Courtesy
“Timber Tales” sparks a dialogue in wood and ink
The ongoing exhibition titled Timber Tales at La Galerie, Alliance Française de Dhaka, invites audiences to experience the collaborative journey of three emerging artists who explore memory, process, and material through the art of woodcut printmaking. Within the exhibition, a faint, earthy scent of wood and ink hangs in the air. Walking into the gallery, some might find themselves pausing longer than expected, tracing the grain of the wood, as if searching for their own stories between the lines. The exhibition features three artists—Rakib Alam Shanto, Shakil Mridha, and Abu Al Naeem—who express individuality through their woodcut prints. This contemplative exhibition is running from June 17 to June 25, 2025. Curated by the artists themselves, the exhibition reimagines the possibilities of woodcut as a medium. Here, the tactile intimacy of carved timber meets the visual language of reflection, nostalgia, and search. As you wander through the space, individual voices emerge. Shakil Mridha’s work, with its minimalistic yet profound geometric forms, feels like a contemporary ode to Bangladeshi folk art, skillfully abstracting familiar motifs. Rakib Alam Shanto’s large-scale black and white pieces command attention, a powerful revival of a classic tradition, showcasing his remarkable focus. And Abu Al Naeem’s pieces, often abstract, subtly reveal hidden figures, reflecting his continuous exploration of materials and techniques. Each artist, in their unique way, elevates woodcut beyond mere reproduction, transforming it into a medium of profound personal expression. And through that expression, each of their work reflects the heart of the creative process, where stories are carved into existence. At the heart of Timber Tales is a tribute to beginnings, to the mentor who shaped them, and to the space where it all began. Their acknowledgement of Professor Md. Anisuzzaman, whose generous guidance helped steer their vision, reveals the deeply collaborative ethos of the show. “This is where it all began—for the three of us,” reads a line from the exhibition note, underscoring the intimate bond between craft, community, and coming-of-age. In an era of digital immediacy, there’s something revolutionary about the deliberate slowness of woodcut. And the three artists have breathed new life into the ancient art of woodcut. More than just a technique, it’s a dialogue between human touch and natural materials. Each frame holds a deeper narrative of tireless dedication—the careful selection of wood, the precise cuts, the methodical inking, and the final, expectant press. Open to all and continuing until 25 June 2025, Timber Tales will leave visitors with more than just images on paper. In a city rushing to reinvent itself, the exhibition feels like a pause, a reminder of our roots with a sense of belonging—to the artists, to the materials, and to the timeless, meditative act of making. Written By Samira Ahsan
