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Moments in time

“Drishyakaal”: Shankor Sawjal's solo photo exhibition

Karim Waheed
On Shankor Sawjal's photographic pursuits, noted cultural personality Asaduzzaman Noor says, "Shankor and I went to Kabul together. We were on the road, going out of the city, signs warning commuters of landmines becom ing frequent Shankor got off the road to take photos. Why? He had spotted some budding tulips in the midst of ruins. He was ecstatic! That's what Shankor tries to find in every frame -- life, even in the most inhospitable atmosphere."
Sawjal's solo photography exhibition, Drishyakaal was recently held at tire National Art Gallery, Bangladesh Shilpakala Academy.
The collection of photos is arranged in several series. Shishir Shokal includes images of -- as the title suggests -- dewy dawns. A misty river and its surroundings,
huts on hill-tops, dew-drops caught in a cobweb shimmering like diamante and so on. But the most remarkable of these is perhaps an image of a lone cow grazing in lush green pasture, a woman following the animal, rays from the heavens kissing the earth. The image can pass off as an impressionistic painting but Sawjal denies any digital manipulation.
The photographer says, "1 don't use digital cameras. The effect you see in this photo, of a cow grazing, happened because the resolution was somewhat low. After printing, the green sort of looked like it was brush-painted"
The series Jibondhara includes vignettes of everyday life that have become rare moments - - an elderly man strolling in a park or woods, a boy lounging on the golui (front edge) of a boat, a man making boitha (paddle), tea-pickers congregating and more. An image
of two pairs of feet -- adult, dirty, calloused feet with tiny, delicate, baby feet - - stands out.
Another photo frames a young Buddhist monk from the back, the golden peak of a pagoda gleaming on top of a hill. The image of rail lines seemingly moving towards eternity through woods is sure to grab one's attention as well.
Abinashi Gaan features photos of the Shaheed Minar, Martyred Intellectuals' Memorial and Smritishoudho in Savar --structures, monuments and sculptures that remind us of the Liberation War.
Nagar Barsha includes some interesting images of a Dhaka getting drenched. Two girls treading a wet track sprinkled confetti-style with Krishnachura petals, a blurry watery image of a rickshaw-puller in the pouring rain and more are sure to stir a viewer's interest.
Ruins of ancient tombs, a tank next to a crumbling wall, two men praying with their guns leaning on a railing next to them, houses on the steps of a hill, young ones acting their age at a bazaar with heaps of mouth-watering raisins, pistachios and such, bright hues of blossoms in an arid setting that can lift anyone's mood and more are part of the Afghanistan series.
The priceless toothy smile of a young girl who apparently came to get some khichdi, in a Sidr-hit area, will light up any wall. This image and several others, in the Jagaran series, highlight the "rise of the phoenix" in the coastal regions that were devastated by a cyclone recently.
Sawjal, vyho writes and composes songs, acts, makes ads and takes photos, works with the sensitivity of a philosopher. His photography comes across as an extension ofhis disposition.