Report...

(1)

Canberra School of Art

MASTER OF VISUAL ARTS

2001

Mohammad Shahabuddin

REPORT

(2)

ABSTRACT

(3)

C O N T E N T S

ACKNOWLEDGMENT 4 INTRODUCTION 6 WORK DESCRIPTION 8

Historical Background 8

Drawing 9 November to February 1999 10

Methods 11 Themes 14 Craft wood work 17

ILLUSTRATION 18 My work 18

Drawing 18 IVliniature 19 November to February 1999 20

Three Eyes 27 Broken Life 29 Balance of power 40 Hard board work 43

Relevant work of different artists 44

My previous work 49 RELEVANT CONCEPTS AND CONTEXTS 50

SUMMARY 52 AGENDA 53

(4)

ACKNOWLEDGMENT

First of all I remember Professor David Williams, Director, Canberra School of Art, who inspired me to study in the AND. His advice and assistance made it possible for me to come this far. My first drawing (unofficial) class was with Peter Maloney on 25/10/99. Robert Boynes first invited me to start working in the Visitor's Studio. Robert Boynes, Nigel Lendon and Deborah Singleton supervised my work there. I treasure their advice in my heart. My supervisors Robert Boynes and Deborah Singleton helped and advised me in my painting

(5)

(6)

I N T R O D U C T I O N

I studied the Master of Visual Art in this Institute to be able to work

with the freedom of my thoughts. In my work I have seen the reflection

of my own thoughts. I never really appreciated the idea of working

under strict rules and regulations and I believe it is not possible to

create something worthwhile in this way. If one can think freely there is

a possibility of finding something new. "Do not imitate, do not follow

others - you will always be behind them." (Corot in Abanindranath

Tagore 1962: 105). Here I have tried to avoid the usual process of

painting with brush and colour, and consequently, perhaps I have

done something new. And again something new is not always

accepted in the world of common practice. The past art movements

has evolved in the same manner. As for example, the beginning of

fauvism movement was not taken easily by the contemporary artists.

My experience in art in Dhaka University and Canberra School of Art

has led me to use the techniques of wash and gouache in slightly

different way. Before starting a work I first think how to mix the colours

and whether the colours will be suitable for what I want to express.

And as specially in Australia, my works are based upon the birds eye

(7)

give special considerations to mixing colours to express human

aspects of life as I have seen the process of life from three different

views - "Three Eyes", "Broken Life" and "Balance of Power". These

three titles can be taken to refer to 3 ideas - the thoughts of sorrows of

life, how life takes different turns from its normal course due to sorrows

(8)

W O R K DESCRIPTION

Historical Background

I came from Dhaka, Bangladesh. I am a student of the Master of Visual Arts at Canberra School of Art, Australian National University. Back home I have completed my Bachelor degree and Masters (part

I) degree in Fine Arts at the Institute of Fine Arts, University of Dhaka.

(9)

efficient in the various modes of expression (Herbert Read in IVlatluv ali 1994:10)". The above advice of Herbert Read inspired me to come to Australia to acquire knowledge to be good in what 1 do.

On September 3, 1999 I arrived in Australia. On the flight, the top-view of Australian landscape overwhelmed me. Since my first day in Australia I had been thinking of doing some painting by using the form of Australian Landscape. Later on I was inspired by Aboriginal Arts. Particularly the primitive colours of back, red, yellow and white have occupied my mind. Eventually I adopted the form of Australian

landscape and Aboriginal colour as a dominant image in my paintings.

Drawing

"Draw line, you man, many lines from memory, or from nature: it is this way you will become a good painter" (Ingrace in Alam June 1994: 57).

(10)

on your knowledge of form keeping an eye on the creative potential of the drawing"(Corot in Satter 1989:27).

November to February 1999

I began my studies at CSA in the painting visitor studio. Since I began to study painting my art training has had several ideas which have stayed with me. They are as follows: I had some bias for miniature painting because one of my miniatures won an international prize. In effect, I have started doing some miniature works in the beginning at the visiting studio on different subject matter. After realising a strong influence of "cubism" of Picasso in some of my earlier works, I have tried to come up with something new (despite the influence of Cubism) on my own by using three concepts -three eyes, broken life, and balance of power.

(11)

Methods

In my recent works I am trying to represent these three themes. My medium is a mixed medium of acrylic and oil colour on oil sketch paper by using some different techniques. At first, I do the drawing on hard board paper then I cut the board around the edges of the line of the drawings. Afterwards I lay down the oil sketch paper on the floor and with the help of masking tapes I attach the oil sketch paper to the floor so that it does not move. Then the I lay down the previously cut hard board papers on the oil sketch paper according to the main drawing. Masking tapes are again used here around the borders of the cut hard board papers leaving some gap between the edges of the hard board paper and masking tape so as when I apply colour on the masking tape, the colour flows towards the edges of the hard board paper and subsequently flows even under it. Before applying colours on the masking tape I take off the cut hard board papers from the oil sketck paper and apply previously liquified yellow colour on its bottom side and replace the cut hard boards on the oil sketch paper so that the yellow colour touches the oil sketch paper. Later I apply the other two colours (red and black) separately. After applying the colours I

(12)

After the settlement (partly drying) of the colours I take off the cut hard board paper and the masking tapes from the oil sketch paper. Then I have to use paint brush to make up for the spaces where colour has not reached and spaces under the masking tape. The rest of the painting is then finished using paint brush. I also use oil colour to make some wide black forms in some pictures to symbolise some evil aggression in society. In some flat surfaces I use some raw materials to make different textures, most of which are taken from nature. I think, my works on flat surface is an attempt for the classic approach of aesthetic value, less perspective and fewer colours. Based on academic training here and my experimental experience with colour, I always try to represent this classic colour in my picture in a simplified form. Studying in Canberra School of Art, especially, my experiments in using the form of Australian landscape and Aboriginal colour has given me something new to deal with my three themes.

(13)

while they were yet in a rudimentary state, before God perfected them by form and number. The manner of then generation was as follows, the four elements are solid bodies and all solids are made up of plane surfaces, and all plane surfaces of triangles. All triangles are ultimately of two kinds- i.e. the rectangular isosceles (equal sided), and

rectangular scalene (unequal sided with no two sides equal). The rectangular isosceles, which has but one form, and that one of the many forms of scalene which is half of an equilateral triangle were chosen for making the elements. Three of them are generated out of the latter, the fourth alone from the former. Therefore only three can pass into each other. The first and simplest solid, the pyramid, has four equilateral triangular surfaces, each formed by the union of six

rectangular scalene triangles. The second species, the octahedron, has eight such surfaces, and the third, the icosahedron, twenty, the fourth, the cube, has six square surfaces, each formed of four

(14)

Themes

By Three Eyes, I have tried to represent three forms, one of these

means inner sight, i.e., something beyond. Here I have tried to search

and represent what is elegant in nature beyond the horizon of normal

view. One can evaluate society better if one has clear inner eye and

at the same time can evaluate and rectify oneself. This is known as

spirituality in Buddhism. I express this theme with three forms. We see

the world with two physical eyes. We can also go into deep with

these two eyes but when we close these eyes we see with the inner

eye which is known as mind. It depends upon the power of mind how

deep one can think. The deeper he will think in his mind the deeper he

will go into finding something new. I have derived the theme of three

eyes into my work because artists used his inner eye to find the

unseen and at the same time I want to present something new . I

want to remind others those who are busy with the worldy life, that

there are three eyes.

Broken life- is the expression of dilemma in human life in the middle

stage of ones career. Sometimes this also represents friction and

fraction in society, separation of land, culture, racism, degradation of

values and lack of universalism, etc. I have tried to symbolise by

(15)

this theme broken life deeply in my society and in myself. Failure in life, separation of a relationship, dying prematurely are reflected in this theme. As for example I left Dhaka in September 1999 after

completion of 1st part of MFA that is I could not finish MFA in Dhaka. Again in Canberra at times I felt like a failure that I might have to discontinue my studies as my financial condition is not up to expectation. Moreover I left my loved ones back home to study in Australia. The pain of not seeing them for such a long time is unbearable. Due to political reasons a part of Bengal has been divided into two. Like this, nations are broken into smaller nations, society is divided into smaller societies which has made an imprint on my mind. Due to these failures, separation and breakage a new way of life is observed.

(16)

Studio to work on my course, meeting friends, eating etc. To maintain all

these activities I have to sometimes sacrifice something. This is what I

call is the balance of power. I have tried to express this continuation of

life in my work with 4 different forms which resembles the balance of

power. In society it is hard to cope with life when rich and poor coexist

like my poor friend walks home from work and my rich friend drives his

Mercedes to a club and I ride my bicycle to my University. It is not

possible to equalise this situation but it is easy to want to see

situations are same for everybody. The tendency of equalisation is

what I have tried to express in my work in the form of art. Although in

real life all men are not created equal but life and death is same for

everybody which I have tried to symbolise in the form of two parallel

lines.

It is worth mentioning that besides theoretical knowledge an Artist has

to be skilled in craftsmanship and in his use of colour. With this view in

mind I am in search of creative art so that whatever new I am doing

(17)

Craftwood Work

According to my Supervisor's suggestion I did some works on

craftwood which came out as the byproduct of my main painting

technique. The textures are somewhat like the traditional wash

process which are similar to my paintings. In these forms I have tried

to keep similarities with the subject of paintings. These forms are

smaller versions of Inner Eye and Broken Life. To explain these

sculptures one will notice that there is a main dominant form around

which the other smaller forms. The main dominant form represent the

course of life and smaller forms around it represent pain and sorrow. At

present these forms are mounted on the wall bolted together. However

I can see the possibility for the parts to separate and to become more

(18)

ILLUSTRATIONS

My work

DRAWING

U - . T ^ M J r ' - -i

»»

WW,

/ ' 7 ^

mBmm

H i i ^ r f t T h W i i

iV . . .

(19)

MINIATURE

Miniature, 2000, Mixed medium on paper, 15cm x 20cm each

(20)

NOVEMBER TO FEBRUARY 1999

Jump, 1999, Mixed medium and oil sl<etch paper, 32cm x 42cm

(21)

Woman life-2, 1999, Mixed medium and paper, 58cm x 41cm

(22)

Woman life-4, 1999, Mixed medium and oil sl<etch paper, 32cm x 42cm

(23)

Source of life-2, 1999, Mixed medium and paper, 144cm x 40cm

(24)

Source of life-3, 1999, Mixed medium and paper, 35cm x 93cm

I

•"jit^a

(25)

Life and Death-1, 1999, Mixed medium and paper, 58cm x 41cm

(26)

Source of life-1, 1999 Mixed medium and oil sl<etcli paper, 32cm x42cm

(27)

THREE EYES

Three Eyes-1, 2000, Acrylic and oil sketch paper, 126cm x 186cm

(28)

Three Eyes-3, 2000, Acrylic and oil sketch paper, 252cm x 93cm

(29)

Broken life-1, 2000, Acrylic and oil sketch paper, 126cm x 93cm

(30)

(31)

Broken life-5, 2000, Mixed medium and oil sl<etcli paper, 126cm x 126cm

(32)

(33)

(34)

Broken life-10-b, 2000, Acrylic and oil sketch paper, 126cm x 126cm

(35)

Broken life-12, 2000, Mixed medium and oil sl<etch paper, 126cm x 186cm

(36)

Broken life-14, 2000, Mixed medium and oil sketch paper, 126cm x 126cm

(37)

Broken life-16, 2000, Acrylic and oil sketch paper, 126cnn x 126cm

(38)

Broken life-18, 2000,Mixed medium and oil sketch paper, 126cm x 93cm

Wl.

§

(39)

(40)

BALANCE OF POWER

(41)

Balance of power-1, 2000,Mixed medium and oil sketch paper, 126cm x 136cm

(42)

Balance of power-3, 2000,Mixed medium and oil sketch paper, 126cm x 126cm

(43)

CRAFTWOOD WORK

Eyes and broken life, 2000, Acrylic on board paper

(44)

Relevant work of different artists

Mohammad Kibria.Oil painting, 1998,

(45)

Margaret Preston,Flying over the Shoalhaverh River,1942, oil on canvas, 50.6cm X 50.6cm

(46)

Wendy Teakel, End and beginning,timber steel, 1994,180 x 530 x 30

(47)

(48)

Shahabuddin Ahmed,Bangladesh,Oil on canvas, 343cm x 204cm, 1997

(49)

My previous work

Life -3,Acrylic on paper, 102cm x 79cm,1998

. . o .Siafa

(50)

RELEVANT CONCEPTS AND CONTEXTS

I first remember Abanindranath Tagore (1871-1915 ) who first made

relationship between western art and Indian art and then Nandalal

Bashu (1883-1966) made relationship between Indian cave art and

pottery art. Jamini Roy (1887-1972) established relationship between

Indian scupture art and rural folk art especially pottery art and then

Zainul Abedin (1914-1976) sketched the famine of 1943 in Bengal to

expose to the world. I remember them.

I started my studies in Institute of Fine Art University of Dhaka in 1988.

From then on during Pre BFA and BFA I was advised by Jamal

Ahmed (MFA Japan), Rafiqunnabi (MFA America), Abdussattar (MFA

America), Shishir Bhattacharje (MFA India). In my work there is a

reflection of their thoughts and advice which is not easily determined.

During my 1st part of MFA, I felt helpless doing the experimental works

and at the same time started thinking differently. In this stage Nesar

Ahmed (Ph. D India) advised me to do collage with which I found the

way to work and at same time I was attracted by the work two

dimensional and flat surface works of Mohammad Kibria (MFA Japan)

(51)

In 1988 the line works of Aminul Islam (MFA Italy) in 7th workshop of Bangladesh Shilpakala Academy and the process of fast brushing of Shahabuddin Ahmed, follower of Becon, living in France in 8th

workshop of Bangladesh Shilpakala Academy attracted me I was habituated working with them which is reflected in my work.

At first the use of colour of Henri Matssie, the first of the fauvist and the use of clour in triangular and rectangular surfaces of Picasso in Cubism(Pablom and Guitar,1913) helped me to get out of the traditional education. The use of Forms in Kandinasky's Black and Violet (1923) and Polkle's Kaolin fruits (1938) attracted me.

(52)

SUMMARY

I like to see life simple. I know that life become better with society, religion and knowledge. I do not know how much I have taken from this society and education. I feel easy to take from the nature that is why in the decoration of my work, in addition to my past experience, I have added the idea of bird's eye view of landscape and simple use of aboriginal colour. I will feel comfortable to leave it to the

(53)

AGENDA

Curriculum Vitae

Mohammad Shahabuddin

Father's Name:

Permanent Address:

Present Address:

Date of bith:

Mohammad Monsur ali C/o: Monumiar Bare,

Vill &P.0: Sharulia, Ps: Demra ,Dhaka, Bangladesh, Phone: 7400395

ROOm no: F270 Toad Hall

The Australian Ntional University ACT- 02200, Canberra

Australia

Phone: 6267 5054 1972, Dhaka, Bangladesh

Education

2000-2001:

1988-1999:

1998:

Candidate for Master of Visual Arts,

(painting)Canberra School of Arts (Institute of Arts) The Australian National University

M.F.A. 1st Part (Drawing & Painting) Institute of Fine Arts, Dhaka University

B.F.A. (Drawing & Painting) Institute of Fine Arts, Dhaka University

(54)

1999-2000: • Intensive English Language program, Anutech Education Centre, The Australian National University

Exhibition

1989-97: • Participated in all the Annual Art Exhibitions organized by the Institute of Fine Arts, Dhaka University

1990: • Art Exhibition on (DUCSU Abhishake'90) in co-operation with the Institute of Fine Arts, Dhaka University

• Art exhibition of the 76th Birth Anniversary of Shilpacharya Zainul Abedin, organized by the Institute of fine Arts in Zainul Gallery, Dhaka University

1991: • Water Colour Painting Exhibition "Bijoyer Bish Bochor" organized by interested teachers and students of Water Colour,lnstitute of Fine Arts, Dhaka University

• "101" Art Exhibition, organised by Fine Arts students,D.U.

1992: • Painting exhibition on Art and Environment, organized by Commitment in cooperation with Bangladesh Shilpkala Academy

1993: . Art exhibition of the 79th Birth Anniversary of Shilpacharya Zainul Abedin, Organized by the Institute of fine Arts in Zainul Gallery, Dhaka University

(55)

• 1 St Tone National Miniature Art Competition organised by Gallery Tone Dhaka

• VI SAF Games Gallery Display Painting in Dhaka Stadium organised by Sports and Cultural Ministry 1994: • 2nd Tone National Miniature Art Competition

organised by Gallery Tone Dhaka

1995: • Water Colour Painting Exhibition on completion of Water Colour workshop organised by Dhaka University Artist Association

• Water Colour Painting Exhibition organised by Institute of Fine Arts, Dhaka University

1989-95: • Bangabandhu in the Feelings Poster Painting Exhibition in Bangabandhu Memorial Museum, Dhaka

1996: • Art Exhibition in Commemoration of 21st Death Anniversary of the Father of the Nation in Bangladesh Shilpakala Academy

• Art for Amnesty an art Competition and Exhibition organised by Amnesty International Bangladesh Section

1997: • Art Exhibition in Commemoration of 22nd Death Anniversary of the Father of the Nation in Bangladesh Shilpakala Academy

• 1st Ceiling Painting in Bangladesh Sheja Court, Dhaka

• 2nd Berger Painting Exhibition in Zainul Gallery, Institute of Fine Arts, Dhaka University

1998: • 12th Young Artists Art Exhibition, Bangladesh Shilpakala Academy, Dhaka Bangladesh • 3rd Contemporary young Artists Art Exhibition,

(56)

Group painting exhibition, organised by 6 young artists in Zainul Gallery Institute of fine Arts, Dhaka Bangladesh

1st Tone International Miniature Art Contest, Dhaka, Bangladesh

3rd Berger Painting Exhibition in Zainul Gallery, Dhaka

13th National Art Exhibition in Bangladesh Shilpakala Academy, Dhaka

"PRATIBIMBO" Group Art Exhibition, organisedby 4 young artists in Zainul Gallery, Institute of Fine Arts, Dhaka University

"50 year celebration of Bangladesh Art", exhibition organised by Bangladesh Shilpakala Academy and National Museum

Workshop

1995:

1998:

Water Colour Workshop under professor Rafiqun Nabi, Kazi Gias, Mustafa Monwar, Jamal Ahmed, Shisir Bhattacharjee, And other senior artists, organised by Dhaka University Artist Association 7th PaintingWorkshop under Aminul

lslam,Organised by Bangladesh Shilpakala Academy

8th PaintingWorkshop under Shahabuddin

Ahmed,Organised by Bangladesh Shilpakala (Fine Art) Academy

(57)

Chinese Restaurant in Dhaka Bangladesh), & many other private collection

Commissions • Graphics Design, Set Design, Portrait, VI SAP Games gallery painting. Ceiling painting

Membership: • Bangladesh Charushilpi sangsad (Aetists Association), Gallery Tone

Award

1995:

1998:

2000:

Shilpi Safikul Hossin award in Pencil Sketch, Annual Art Exhibition, Institute of Fine Arts Dhaka University

Award (Category Abstract) in 1 st Tone International Miniature Art Contest, Dhaka Bangladesh

(58)

BIBLIOGRAPHY

Salter A. Shilper Upakaran O Bebohar Paddhati (Art Material and Using Techniques). Bangia Price , 32/1 Azimpur Road,Dhaka-1205.

Bangladesh,First Edition: January,!988,Page:27,

Alam Rafiqu.Pashchatyo Shilper Itehas (The Hilstory of Western Art) Bangia Academy Price,Dhakd,Bangladesh, June ,1994,Page: 57

Tagore Abanindranath, Bagesewari Shilper Probundaboli ( Art Aesthetics.) D. Mehora, Rupa and compane, 15 Bgkim chaterje estate,Calcutta, India. April, 1962, Page: 105

Mitra Ashok. Chabe Kake bole (What Is Picture), Anand Published.P.L. Calcutta,9,lndia.1984, Page: 213

All Matlub. Shilpi O Shilpakala ( Essayson Art & A r t i s t B a n g i a Academy Price , Dhaka, Bangladesh, June 1994, Page: 10.

Bail Murray, Fairweather.(An Art & Australia Book),Craftsman House, 1994, Plate:43

Plant Margaret, Painting Australia.(A Child's Guide To Australian painting ). Published: 1995, page: 55

The Nolan Gallery, ACT. Exhibition coordinated and toured,Out of the box , Australian Capital Territory,Canberra, 1994, page :23.

(59)

Three Decades,20 February to 3 March. Bangladesh Shilpakala Academy, Dhaka, 1997,

National Gallery of Australia Painting foreverTony Tuckson 4November 2000 -4February 2001.

Organised by Bangladesh Shilpakala Academy and National Musem .Contemporary Art Series of Bangladesh-60. 1994

Art Exhibition in Commemoration of 22nd Death Anniversary of the Father of the Nation in Bangladesh Shilpakala Academy 15-21 Augst 199Z

Robert Boynes Institute of the Arts Website at: www.anu.edu.au/ITA/ Painting workshop

1st Tone International Miniature ArtExhibition 1998 Bangladesh Page: 7