The last week of July brought an artistic distraction in the wake of a national tragedy. Seeking a brief moment of emotional respite, I visited Safiuddin Shilpalay on July 26, 2025, as it inaugurated “Carving the Self: Id | Ego | Superego”—the first solo art exhibition of emerging artist Abu Al Naeem. The ceremony was attended by noted professors from the Faculty of Fine Art, University of Dhaka, including Prof Syed Abul Barq Alvi, Prof Dr Azharul Islam Sheikh, Prof Anisuzzaman Anis, and Associate Prof Md Nazir Hossain Khan. Artist and founder of Safiuddin Shilpalay, Ahmed Nazir, was also present.
Almost eight years ago, my eyes encountered a mystical green painting that looked like a fluid fairy forest. That piece, along with several others, shared a similar sense of fluidity. They belonged to a senior from both my school and university. Since then, this style of artwork, known as fluid acrylic art, has become one of my obsessions, making me dive into its world. When I thus came across artist Farida Yesmin Parveen's art exhibition event on social media, I realised that she's someone I must meet.
Acclaimed Bangladeshi artist Muhammad Monsoor Kazee has returned with his third solo exhibition titled “Co-existence of Abstract”, now open at Safiuddin Shilpalay, Dhanmondi.
The topographic beauty of Bangladesh owes a debt to its waterbodies. Being a delta embellished with rivers, natural canals, wetlands, lakes, swamps, ponds, and fountains that flow into the Bay of Bengal in the south, the beauty of our land knows no bounds. The spirit of water flows through the veins of Bangladeshi people and the survival of the entire nation revolves around the waterbodies. Thus, our way of life, livelihood, and pretty much everything is centred around water. These ever-familiar images of rural Bangladesh and its people are powerfully portrayed on artist Zannat Keya’s canvases.
In keeping with the exploration of the current themes in the nation’s art scene, an art exhibition displaying the windows into the complex narratives of our socio-cultural landscape was recently arranged by Zobra the Art Village and Dot to Line at Safiuddin Shilpalay in Dhanmondi. This five-day group exhibition titled, "Shilpa Sandhan", celebrated Bangladesh’s diverse and evolving art heritage, with the hosting of 55 artworks offering vibrant displays of creativity and emotion, from 24 contemporary artists.
The event showcases a mesmerising collection of 53 art installations, highlighting Friends of ’71 Bangladesh and the beauty of nature.
The most prominent characteristic of her artistry is that the subjects she chose appear as if they were from a dream world.
The last week of July brought an artistic distraction in the wake of a national tragedy. Seeking a brief moment of emotional respite, I visited Safiuddin Shilpalay on July 26, 2025, as it inaugurated “Carving the Self: Id | Ego | Superego”—the first solo art exhibition of emerging artist Abu Al Naeem. The ceremony was attended by noted professors from the Faculty of Fine Art, University of Dhaka, including Prof Syed Abul Barq Alvi, Prof Dr Azharul Islam Sheikh, Prof Anisuzzaman Anis, and Associate Prof Md Nazir Hossain Khan. Artist and founder of Safiuddin Shilpalay, Ahmed Nazir, was also present.
Almost eight years ago, my eyes encountered a mystical green painting that looked like a fluid fairy forest. That piece, along with several others, shared a similar sense of fluidity. They belonged to a senior from both my school and university. Since then, this style of artwork, known as fluid acrylic art, has become one of my obsessions, making me dive into its world. When I thus came across artist Farida Yesmin Parveen's art exhibition event on social media, I realised that she's someone I must meet.
Acclaimed Bangladeshi artist Muhammad Monsoor Kazee has returned with his third solo exhibition titled “Co-existence of Abstract”, now open at Safiuddin Shilpalay, Dhanmondi.
The topographic beauty of Bangladesh owes a debt to its waterbodies. Being a delta embellished with rivers, natural canals, wetlands, lakes, swamps, ponds, and fountains that flow into the Bay of Bengal in the south, the beauty of our land knows no bounds. The spirit of water flows through the veins of Bangladeshi people and the survival of the entire nation revolves around the waterbodies. Thus, our way of life, livelihood, and pretty much everything is centred around water. These ever-familiar images of rural Bangladesh and its people are powerfully portrayed on artist Zannat Keya’s canvases.
In keeping with the exploration of the current themes in the nation’s art scene, an art exhibition displaying the windows into the complex narratives of our socio-cultural landscape was recently arranged by Zobra the Art Village and Dot to Line at Safiuddin Shilpalay in Dhanmondi. This five-day group exhibition titled, "Shilpa Sandhan", celebrated Bangladesh’s diverse and evolving art heritage, with the hosting of 55 artworks offering vibrant displays of creativity and emotion, from 24 contemporary artists.
The event showcases a mesmerising collection of 53 art installations, highlighting Friends of ’71 Bangladesh and the beauty of nature.
The most prominent characteristic of her artistry is that the subjects she chose appear as if they were from a dream world.
