The Narrative of Leprous Hide(2022)

 Nature and the environment are involved in life. Again life is nature itself and its origin, development, and disappearance is also in nature. So nature and human life, or the environment and life, are inextricably linked. But is there any unity? Perhaps it would be better if it were there. This relationship is further tangled by the fact that human beings have always sought to assert their dominance over nature. Nature has never been considered in one-sided knowledge-based planning. In many situations, the economy has become the only decisive element in the face of interfering nature.

 This project is about my experience and memory, which connects us to a mahiruha( the tree) that has become extinct in our nature.“The tree has life” - in order to achieve the apex of this notion/belief, I anthropomorphized a tree by combining human body parts with the tree’s chopped portions, branches, and rough bark. It's an attempt to express a sad melancholy of ruthless urbanization. 

Clairvoyance(2021)

 The eye sees light, but it is by its own light that it knows what it looks at. Myths abound that tell of eyes being exchanged or lost, of an eye being sacrificed in order to gain second sight, and of the powers of vision, knowledge, and command coming together into Third Eye. In nature, in dreams, in art, in legends from around the world and in many forms of mysticism, the eye- mirror of divinity-reflects our gaze inwards in search of the self and the creator who sees all.

In this work, i am inspired by a very simple idea. One eye is seeing the sky from the inside of this concrete city through various gaps, cracks, holes, balconies or ventilators in the building and at the same time that view is under the supervision of numerous eyes.

Transfiguration (2009)

•  This piece was created as a result of the Porapara Performance Art Workshop,2009, in which the body, space, and clothing were used to create a language. Clothing has three functions: protection, modesty, and adornment. Last is no mere veil or screen, but a surface on which we may present an image of ourselves. Dress both conceals the body and conveys its messages. On the other hand, the act of changing clothes in a public space is a violation of norms of acceptable social behavior, was my way of transforming public and social spaces. The dress gives a recognizable appearance to the mysterious object of desire. Sometimes it reveals more than it hides. In this performance, I'm addressing a comprehensive trip through many periods of life, from birth to death, in which we battle to adjust ourselves at every turn. With the inclusion and exclusion of new experiences, love, suffering, and relationships, life comes to an end.

Brush, Brush,Brush Your Teeth(2019)

In this piece, I was dealing with the theme of exile, exodus, history of dislocation, migration, and the actuality of that position. The concepts began to take shape, when the latest exodusbegan on August 25, 2017; violence erupted in Myanmar's Rakhine, driving over 7 milliopeople to seek sanctuary in Bangladesh.

Some relief items marketed on city sidewalks aided me in developing the thought framework for this piece. Man-to-man and matter-to-man relationships are both spatial and temporal. It evolves over time and is influenced by a range of geopolitical and social relationships.

 The first display of this work was in Charagi Art Show -7, 2019, which used to be hosted in Charagi, Chattogram, and organized by Jog Art Space.

 

WE ARE GOING FAST!!!(2016-2019)

Misery and bitter truth can be ignored by fun. Sometimes when we are helpless, we start to laugh. And, this is what helps people to live.
The Perception of the presence of sport in a dialectical situation is planted into the human mind. In fact, this is a basic instinct. My work is inspired by what is called dialectic.

                                          

Thonga, Community Art Project [Govindpuri(J.J. Colony) , New Delhi, 2017]

 Thonga, Community Art Project [Govindpuri(J.J. Colony), New Delhi, 2017]

( Sharad Das, Khadokar Ohida, Dhrubajit  Sarma)

Tracing Art in Public (TAP) is an online-based magazine aiming to address the lack of art in the cities and force a dialogue about art outside the museum. To celebrate its commencement, the organization planned to create a large-scale work inside a residential colony in south Delhi. Their focus was to co-create an evolving work with the residence of the community and work with community engagement.

Tracing Art in Public’ (TAP) invited some young Artists to participate in that community-based art project in south Delhi. Govindpuri(J.J. Colony) is an urban village or slum, based in South Delhi, mainly populated by the migrated Bengali and Bihari laborers, where I collaborated with some Indian artists in that project. We decided to work with the beauty of the residence of that community as a part of the initial plan. For that, we started taking photographs in that slum with the help of some local volunteers while we found some young curious people. So next we decided to organize three days ‘Thonga’ (Recycled Paper Carry Bag) making Workshop at ‘Kantha Community Centre’ with that printed photograph. The aim of the workshop is not only to guide the people to earn this skill but also to encourage them in artistic approach. Finally, we made an installation with 500 printed Thonga, displayed in an open ground at Govindpuri Slum area for the community's engagement.

LINES THAT I COULDN'T CHANGE-3(2017)