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A Subtle Amalgamation of Optimism with Pessimism

by Fayza Haq
IFTIKHARUDDIN Ahmed who recently held his solo exhibition of mixed media at Alliance Francaise. has now returned to Dhaka, after his year-long study at P«».
Speaking about the influence of European art on his recent display. Iftikhar said, "I got the opportunity to see the works of renowned painters like Picasso, Matisse Kandinsky. and Miro 1 did this by going to various European museums, at different times."
‘Going from Bangladesh to Europe. I felt like a ship that had suddenly found itself in an ocean of fine arts, so to say. All around me were well-known artists and amidst them I found myself to be a IJIlputin. I took myself to be a despicable artist from a country, known to the west, as a part of the Third World. I was. naturally, perplexed."
When in Bangladesh, he
considered himself poor. However, when he compared the works of the artist. In his country, with those found in Paris, he realised that, at least in the sphere of painting Bangladeshis were not lagging far behind. He insisted that in no way are the Bangladeshi painters 'inferior to those found in Europe.
Iftikhar did not digress into the sphere of sculpture, being a painter, essentially. Whatever _ , problems that he faced as an ’artist while in Dhaka, he sorted them out selectively, while staying in Europe. He had. for instance.. some forms, like. say. the rickshaw, that he, had once worked with. Studying "abroad, the artist learnt ways and means to highlight them effectively. There were socio-political and economical. local problems, that once hindered his work. This
was due to the fact that impressions of environment, naturally confines an artist’s 'creation, at all times and places.
Going to Paris. Iftikhar found himself in what one knows as A beautiful and historical city. He witnessed, for instance, how the traffic rules are adhered to. “I found myself in a disciplined world, In a traffic situation, which might appear overwhelming to one from overseas. His horizons. consequently widened.
”1 was Influenced by the environmental situation, which, obviously influences every creative worker. In Europe. 1 learnt to handle’ the element of balancing the space problems, which once perplexed my mind. Nevertheless. I was always aware, that whatever the Bangladeshi artists are doing in their country. Is not to be bypassed. They are doing their best under the circumstances, which perhaps, artists from the west, may not be able to match. This. I believe. Is because in the east, we can trace back our ancestry, to literally thousands of years. Just consider the art works found in Mainamatl or Pahar-ptir", Iftikhar pointed out.
"Nevertheless." the artist added "what Bangladeshi people are doing presently, is confined and hindered by their own circumstances. Today in the mid 90’s, we find ourselves perplexed by our situation. Meanwhile, the people of. say. in Europe, on the other hand. lead a more systematic life."
"An artist, for instance, in Europe, as 1 saw, has different galleries where he can.puf in his works and have them easily sold. In Bangladesh, on the other hajnd, there are only about six' private and two national galleries at Dhaka, and these too do not charge you any entree fee. as do the galleries that I have visited in Europe.' There are simila«(y few sponsors even at Dhaka, our capital city (as 1 found on my arrival, only recently). Without their encouragement, our artists cannot make much progress".
Asked to elucidate if his technique had improved.
Iftikhar said “I have my own identity, I believe. A connoisseur cannot come to the conclusion that my paintings have the influence of one master or another from Europe..I was determined. when first going to Paris, that I would return to Bangladesh with some paintings. which would be recognised as those of my own. I did not want to merely imitate the works of European artists, that one sees at the' European galleries".
"1 believe that I have clearly shown sincerity in my works, after having studied at Paris and toured some of the capital cities of Europe. To project sincerity in my work was the main purpose of my. trip to Paris", he said. t
The artist’s oil on canvas. “Life" depicted a broken railway line. In this. Iftikhar wished to delineate the repeated preoccupation, in the minds of our local artists, that they are caged within the framework of the earth. The symbol of life, that one found in the artist's show, held a year back. at Alliance Francaise. had been repeated in this piece. This comprised two balls of different sizes and hues, held together by a solid Iron rod. The "Stop" sign that one found at the right forefront. stood for death. One thus realised that Iftikhar Is still somewhat pessimistic as before. despite his recent western orientation. Nevertheless. the paler colours that ensue from the dark ones, assert his nouveau element of decisive hope in this piece as with all other ones, in his latest exhibition.
Iftikhar brought in the theme of motherhood in “Madonna", which bdre the images of a cow tending its calf. The various parts of the basic anatomy of the animals had been placed on different parts of the composition. This mixed media too carried ingenious composition, new techniques, and flamboyant colours. njuted and amalgamated with soft, soothing white and beige. In this composition too. the artist had attempted to bring in his belief that man remains limited and confined, despltg al) hla perseverance. The Images, portrayed on the
piece, stood for mankind — the subject of many artists, writers. scientists, and philosophers — since God created man.
The artists next favourite piece at the display was "Freedom". • which depicted the head of a person, who had ’ achieved his peace of mind after repeated struggle and strife- Iftikhar had experimented with colour, shape, texture and technique, to assert his beliefs, and present his skill and mastery in painting.
There were highlights of red in this piece, as the artist felt that this could convey the theme of revolution, which he felt was essential for the progress of man. and to usher in new hopes of freedom, and progress. j
When at Lausanne. Switzerland, the artist had been inspired to paint "A Ship”, in which the form of a ship had been brought in. along with a grey sky, to denote an oncoming storm, from which the ship was trying to escape, and reach the safety of a harbour. This was a mixed media composition.
Iftikhar's most fascinating and mind-boggling piece was “Landscape." which had a triangle in the centre, balanced by dark bars, at the sides. Its main form was building, with a flaming yellow crescent moon, on one side, carefully balanced by a matching neat rectangle on the other one. This patch on the right brought in the essential element of Joie de vivre. which Is necessary for the existence of all mankind.
Iftikharuddln Ahmed, had been a scholar of the French government for higher studies on painting at Academy de la Grande Chaumlre. Paris, between '93 and '94. His has held five solo painting at Dhaka and two in France. His group shows include 14 in Bangladesh, at 15 abroad. He won the first prize for painting as a scholar at Paris in '94. Earlier he won four Commonwealth exhibits for young artists between '76 and '74.
Fer an artist tn his early thirties. Iftikhar has proved himself a dynamic one. even going by International standards.