Tajuddin Ahmed's gestural abstraction in the context of Bangladesh
Tajuddin's artistic journey has been marked by a continuous process of refinement. After the late 1980s, he transitioned into a semi-abstract painter and embarked on a thorough exploration of the metropolitan community through thematic treatment. With a profound sense of intimacy, he closely observed the unplanned urbanisation of the city, the gradual loss of its cultural heritage, the diverse modes of transportation, and the ever-evolving socio-political and economic conditions.
6m ago
Asma Akber’s solo exhibition: An affair of vivid hues and enigmatic shapes
Syeda Asma Akber is a self-taught painter, but this description hardly does justice to her creative talents. Her connection to art seems to have been established in her early years. As a painter, she explores non-figurative, mostly non-objective, and naturist themes. Asma’s work is deeply rooted in physiological experiments, incorporating elements of illusion and emotion.
6m ago
March 6, 2024
Tajuddin Ahmed's gestural abstraction in the context of Bangladesh
Tajuddin's artistic journey has been marked by a continuous process of refinement. After the late 1980s, he transitioned into a semi-abstract painter and embarked on a thorough exploration of the metropolitan community through thematic treatment. With a profound sense of intimacy, he closely observed the unplanned urbanisation of the city, the gradual loss of its cultural heritage, the diverse modes of transportation, and the ever-evolving socio-political and economic conditions.
February 22, 2024
Asma Akber’s solo exhibition: An affair of vivid hues and enigmatic shapes
Syeda Asma Akber is a self-taught painter, but this description hardly does justice to her creative talents. Her connection to art seems to have been established in her early years. As a painter, she explores non-figurative, mostly non-objective, and naturist themes. Asma’s work is deeply rooted in physiological experiments, incorporating elements of illusion and emotion.
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