rtwv say that one can read the soul by the xs fbe poignancy in evefydav existence In i(u- Inrs of thousands around us is captured with .muracv tn the oil paintings by the Dutch mis' Agnes de Zanger. as she dwells on ii< kshawpullers and vagrants like scavengers, mmIk charmers, cigarette vendors and street walkers Like many foreigners in Bangladesh. I am struck by the extreme poverty of the masses I am not able to do anything for them but I hope that by presenting them In oil. I draw attention to their fate, and hope that those with means and authority will do something io remedy their lot." the artist says.
The details of the portraits In her show at La Galerie" have a lot 19 sav about the circuih stances of the not so well-to-do in Dhaka Rosha with her red sari, sitting in orie of the benches in Agnes's house, has been done with care to highlight, the bea 11 tv of the average looking dark-skinned Bangladeshi. Her eyes are sunken, her lips pouted, while the texture of her skin and mode ol her hair style speak of a simple life of a rickshawpuIlers wife, which Is a little better than the rest 'of the hard^up char acters in Agnes col lection.
Asha Kha'toon. with drooping lips, half opened weary eves and dried-up skin, done in tones of’blue and yellow as highlights of the ba sic brown, is a rubbish collector. The background of the ixirtralt Is comple-iid in cheerful, p geometrical shapes.
The sensitive, high strung street-walkers had to be finished In swift strokes within one 11 id a half hours, as they were shy and self-conscious while one of them was particularly restless and qujek-tempered. 'They told the well-known story of being hounded by police and shadowed by pimps. The torment apparent in their gaze was heart-rending. 'They have something tough and. resilient inside them to [irotect themselves from the harsh and lumiliating life that they are compelled to lead." the artist comments. Their youth and bare bodies — used Indiscriminately by men with money to spare — are depicted with deft strokes and translucent colours.
"The snake-charmers' Is the portrait of two gypsy women clad in flamboyant coloured garbs "It was the hand movements and knee gestures that controlled the snakes rather than 1 lie music of the flute." Agnes explains. While the women are executed In a realistic manner Ilie snakes tn Hur background are brought tn an impressionistic way. This particular mode of [ireseniaiion-was suggested by the artists lusb.md who Agnes says is a great source ol encm 11 ns hu 111 Im li<-i work.
The drug addict Is a sample of the hundreds of Interesting people that Agnes once met during Durga Puja In Old Dhaka. His vacant look, bloated lace and thin brown body speak of his questionable and dubious way of life "He was selling cigarettes to make a living, and at least that Is recommendable and acceptable." the painfer adds.
In two more of her portraits of women, the artist has used a strip of rubber Instead of a brush to get the effect of print-making technique
Three other paintings, done In raw Colours and mind-boggling combination of geometrical
designs, are termed I "Circus-1.11 and I Lil” arid here the I imagination plays a I strong part. The I sketches of these I experimental work I have been done I blind-folded.
In the 34 pieces. I including four char-I coal and pencil I drawings. Agnes has
K roved that despite er lack of long I years of formal train I mg. she has I achieved her aim of I delineating the mis I ery and qopeless I ness of the people in I her environment. 1 This is not to say | 1 fiat she is venturing 1 lorth In the world of I paints without any I instructions at all I she had several in-I lenslve art courses I while at Soest and I Utrecht (Holland). I Having to bring up I her two children. I 'Laura (12) and Wyke I (8). she was earli-I er busy otherwise. I She combines her paintings with choreography. As a
Jazz dancer, she helped with the staging of "Midsummer Night's Dream"; two Christmas show dances at the American Internationa) School: the pantomime "Jane and the Magic Pumpkin;-' and the co-ordinations of the movements in "Hamlet."
"While, paint the subjects. I get to know their lives even if this is done through the interpreter, my gardener. If I was only passing by them in the city. I would seldom know the details of their lives, which are certainly interesting." Agnes adds.
The problem arises when the models think that the artist can support their families indefinitely. 1 pay and feed them while they work but I cannot take the responsibility of their entire clans for months on end. The subjects earn more by modelling for an hour than by an entire day's normal labour. I photograph them# too and give them a copy each and this pleases them intensely. Getting to meet them gives you a fascinating Insight into life there Is no end to their sad story’ bit a lot af it is fact." are the artist's comments on her subjects.
Agnes s solo show will begin at "Ca Galerie" Irom today.