E X H I B I T I O N S
G A L L E R Y
JHUMA DUTTA’S WORKS
C R I T I C V I E W
Having been a painter, to start with, Rashid’s adaption of tapestry as for painting was not all that unusual. But young Shafiqul Kabir born 1968, at Narsingdi increasing attention towards making tapestry a medium of creative expression is a sure indicator of his creative urge. In a vital sense also, Shafiqul is a follower of his admired predecessor but with a significant difference in the make up of their personality. Rashid’s juxtapositions in native soil and grassroots memories of light darkness contras observed during nocturnal festivals, under artificial light, in his native land.
Shafiqul generally avoids, strong color contrasts, and has preferences for tonally graded colors of closely related range, which tend to generate a graded monatomic ambulance. Instead of linearly well-defined forms, Shafiqul goes for differences effect into textural agglomerations. In fact, the cardinal input of Shafiqul’s work are textural variations obtained through different types of weave and pilings. Tonal gradations, suggestions of forms and their weigh, volume and density, every effect is obtained through textural variations and variations in piling. The overall effect is one of lyrical suggestiveness, rather than of visual statements.
“In his own works, Shafiqul Kabir endeavors to eliminate the fine line of differentiation between beaux arts and decorative arts consciously by personalising the entire process of his tapestry work and engaging in singular appendages in the third dimension. He does so by ties and knots building on each of his tapestry design in creative abandon, rendering every individual works into a piece of unique sculpture.”
‘Shafiqul Kabir is a very talented artist. His tapestries speak for themselves.’
Dr. S. Manzoorul Islam
Shafiqul uses knots, half knots, pilings and lumps to accentuate his patterns of tapestry. The predominately vertical compositions of his tapestries impart to them an outwardly flowing energy that easily translates into speed and dynamism.
Shafiqul’s tapestries are distinguished by their color and design, and by their fine workmanship. He does not use strong colors, neither are they sharply contrasted. There is rather a gradual toning down of colors from one area of the composition to the other. There is a certain impressionistic quality in Kabir’s painterly use of color and “space”. From a distance his use of space does appear to accentuate the interplay between light and shade. Shafiqul puts a lot of labor in executing his almost embroidery like stitches and half stitches but the finished product does not show the effort, rather the feeling is one of spontaneity and liveliness.
Kabir’s success as a tapestry artist lies in his combining his experience of many different art forms. He has a clear view of what he is going to do. With each new work therefore, he is charting his progress towards achieving the ends of what he calls, “weaving painting” and “fiber art”.