The Work of Creation 2, an exhibition of works by artist Kazi Ghiyasuddin

Kazi Ghiyasuddin hails from a generation of artists who emerged into the art scene at the cusp of Bangladesh’s independence. By then the Indian sub-continent had been partitioned and later, liberating itself from Pakistan, Bangladesh came into being as an independent nation-state. Despite the legacy of two hundred years of colonial rule and twenty-four years of oppression—artists, litterateurs, intelligentsia of this country remained actively engaged throughout in propagating the significance of institutionalising modern art practice across all spheres.
Alongside cultivating himself further through art-education in Japan, Ghiyasuddin remained in situ, and thus, was able to carve a niche for himself in the local art practice. He established himself amidst the forerunners of foreign artists in Japan’s art milieu. This long journey was, like any other of its kind, not without the looming threats of volatility of chance. Although he served as a faculty in the erstwhile Dhaka Government Art College coupled with a short stint in Japan, he settled for an independent career in art practice. His long absence from his native land did very little to alter his profound love for his homeland which finds expression in the dense yet graceful, nostalgic language of his art. Apparently, elements of nature and those of a studied existential query form the subject-matters woven into his artworks in manners suggestive or rather abstract. He sifts microscopically through both acts of seeing and feeling to create a world that refracts reality in spite of rarely referring to any singular plot or character. Moreover, it offers a leeway to penetrate the artwork with the comfort that one might lend one’s own interpretation at will or choose to withhold it. In other words, it is more of an invitation to contemplate at length an experience in introspection.
The artworks on view in the current exhibition use an array of media; watercolour on paper, oil paints on canvas and board, and collage. Ghiyasuddin claims that the works in watercolour are inspired partly by the traditional Japanese art form of Nihonga. Whereas, the surface of the oils draws on the techniques of Bangladeshi Nakshikantha (embroidered quilt). What especially draws one’s eyes to the artworks are the vibrant colours and dense lines. The collages consist of compositions created by meticulously assembling torn pieces of papers. This manoeuvre brings to light a rhythmic and aesthetic choreography of various layers, lines and forms underlying the surface of the weave. He is composed, steadfast, refined in his approach to art making—which is steeped in the characteristic creativity, thought process and work ethos of the East.
Adopting art as the driving force of life, Ghiyasuddin remained single-minded in his perseverance for over half a century leading him to earn a place of his own in the international art firmament. His body of works stand apart as an exception in contemporary times instilled, as it is, with an abiding appeal that points distinctly to a profound dialogue with nature..
The curated clusters of artworks inside the gallery translate into curious designs which together with the snatches of dialogues they ensue make way for an attempt to bring Ghiyasuddin’s process of art making to view.
We are pleased to present Kazi Ghiyasuddin’s artworks to the audience through a solo exhibition.

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