Highlighting childhood nostalgia
Babul Mahmood's solo painting exhibition in Toronto
Takir Hossain
The Daily Star, Dhaka, Wednesday, November 21, 2012
Under the title “Nostalgia and Reality”, Toronto Public Library in Don Mills, Canada has organised a solo painting exhibition, featuring the works of Bangladeshi expatriate painter Babul Mahmood. The exhibition was inaugurated recently and will continue till November 30. This is his sixth solo painting exhibition.
Babul's paintings feature bold colours, forms of different objects like kite, spinning top (Latim), fish and natai. Strong brush strokes and subtle expression of spirit are also two significant traits of his paintings. He is an experimental painter and has identified himself inextricably with the cultural heritage of Bangladesh.
The artist told The Daily Star over the telephone, “All the way through my journey as an artist, I have concentrated on themes like childhood dreams, the underwater world and diverse social calamities. Childhood nostalgia is one of my beloved subjects.
“My 'Underwater World' series inspired me when I visited Saint Martin's Island. I discover a joyful and free-roaming life under water. I strive to represent the vibrant life of small fish, green shrubbery and unknown foliage all in the watery world.”
Emerald green, crimson, azure, black, yellow, white and red are used predominantly, giving a fascinating approach to Babul's paintings. The strong backgrounds give the viewers a romantic and imposing view.
The painter cherishes childhood nostalgia, when life was carefree and everything was possible. Spinning top and flying kites were part of that passion. He has concentrated on the theme of childhood and has tried to capture the theme in different forms, colours and shapes. Adroit application of light and shade are evident accomplishments, besides restless curves, round-square forms, rectangular-triangular and broken lines. This is because playing with forms is the foremost aspect of Babul's works.
Babul considers pure colour to be the most effective way to express emotions and sensitivity. He believes that colour approaches the soul directly and is able to induce profound emotions in the viewer. He applies his colours meticulously, in thin layers, and reduces the texture of the paint to its most minimal state.
Babul graduated from the Institute of Fine Arts, University of Dhaka (now Faculty of Fine Arts) in 1991. A Masters in Visual arts in Painting from Banaras Hindu University, Varanasi, India, he has held solo exhibitions in England, Canada and Bangladesh. He took part in major group exhibitions in France, Canada, Nepal, England, South Africa, India, Australia and other countries.
Toronto through the eyes of Babul Mahmood
The Daily Star, Wednesday, October 5, 2011
Staff Correspondent
Bangladeshi painter Babul Mahmood now lives and works in Toronto. Besides being a painter, he is also an able photographer. Several years ago, Mahmood left the country for higher education in Graphic Design, in Toronto. His images convey his eagerness to capture the welcoming and fascinating facets of Toronto. He has wandered through the city, taking pictures of its vibrant cultural diversity. Mahmood has focused on architecture, arts, cultural-social festivals, and everyday life in the city.
The photographer seems to be constantly in search of aesthetic frames. According to him: "I'm not just documenting things. I'm really trying to understand what the people are like, what their lives are like, and trying to portray that as much as I can in the photographs. I'm surprised by the city's sublime, charming, and yet whimsical atmosphere."
The search for aesthetics is evident in the photographs. Light and shade have been used commendably in his photos. The photographer is seemingly an expert in using natural light to create images that are easy on the eye. Mahmood's photos are bright and lively. He demonstrates his technique in some photographs.
The exhibition features Toronto's magnificent lakeside park, innovative architecture, sculptures, galleries, theatres, museums, concert halls, public recreation centre, and everyday life in the cosmopolitan city. Bright sky, falling snow, and crimson sun are also in focus. Some of his images show people on the streets of Toronto, common chaos and relaxation at the caf�s. These photos were shot at several locations in the city.
Takir Hossain
The Daily Star, Dhaka, Sunday, August 31, 2008
Bold colours, novel technique, meticulous adherence to brush stroke, subtle expression of spirit and clear perception are the main aspects of Babul Mahmood's paintings. He is one of the budding painters and has identified himself inextricably with the cultural heritage of Bangladesh. Babul's experimentation with technique marks the beginning of a timeless voyage of an innovative exploration.
Babul is a true narrator of our social, cultural and natural milieu. He is among those promising artists of Bangladesh who has developed a distinctly individual style.
Babul Mahmood cherishes childhood nostalgia, when life was carefree and anything could be done. Spinning latim and flying kites were part of that passion. A poet once said that what a child “is”, foreshadows what he will accomplish in future. Consequently, it is clear those days can surface in an artistic work, blending truth and beauty in a sensational manner that can invite us to bask in the enjoyment of such exciting creative expressions.
Babul has concentrated on the theme of childhood and has tried to capture the theme in different forms, colours and shapes. Adroit application of light and shades are evident accomplishments, besides restless curves, round-square forms, rectangular-triangular lines and broken lines. This is because playing with forms is a foremost part of Babul's works. His application of paint is also singular and distinctive.
Use of bright colours is another unique feature of Babul's paintings. In his use of colours, Babul frequently goes for vital colours from our natural world. It is not a rare sight in his paintings to find the original forms being split and summoned up in a new garb, an interpretation that permits working over a wide range of themes. Some of his paintings blissfully project the serene ambience of nature of Bangladesh. The colours involved are azure, scarlet, black and emerald green, representing Mother Nature in torrential colours and scenic depiction. Babul has taken the simple and general subjects of our surroundings and presented them in uncommon style that gives a deep expression of semi-abstraction and abstraction.
As a painter, he thinks he has some responsibility to the motherland.
Babul Mahmood's solo painting exhibition will begin soon in Toronto, Canada.
Reminiscences on canvas
Takir Hossain
Dhaka Courier, July 10, 2008
Vigorous colour, technique, strong stroke and imagery are the components that beautiful paintings are made of and Babul Mahmood, a burgeoning painter who has been trying to contribute to our art arena with his passion and clear perception. A thought-provoking and imaginative painter, Babul is always searching in his voyages through the vast diverse ocean of nature for enriching his works.
Babul has identified himself inextricably with the cultural heritage of the soil. His central philosophy is that he is a Bengali by birth; has grown up and developed in an environment shaped by the wind and water of Bengal. Babul's experimentation with technique marks the beginning of a timeless voyage of an innovative exploration.
Babul is a true narrator of our social, cultural and natural milieu in our country. He is among those few budding painters of Bangladesh who has a distinctly individual inventive style.
Babul Mahmood cherishes sinking in deep childhood nostalgia, when life was free and anything could be done. Spinning tops and flying kites were part of that passion. That is why a Romantic Poet pronounced that what a child "is" foreshadows what he will accomplish in future. Consequently, it is clear those days can surface in an artistic work, blending truth and beauty in a sensational manner that can invite us to bask in the enjoyment of such exciting creative expressions. Babul has concentrated on the theme of childhood and has tried to capture the theme in different forms, colours and shapes. Adroit application of light and shades are evident accomplishments, besides restless curves, round-square forms, rectangular-triangular lines and broken lines. This is because playing with forms is a foremost part of Babul's works. Babul likes to work in bold brush strokes, vibrant colours, light and shade that mark off his objects and forms from the surrounding space. His application of paint is also singular and distinctive. Babul is more and more imparting messages through his paintings and he is becoming more innovative, using his space to increasingly interact with his forms and objects.
Use of bright colours is another unique feature of Babul's paintings. In his use of colours, Babul frequently goes for vital colours from our natural world. It is not a rare sight in his paintings to find the original forms being split and summoned up in a new garb, an interpretation that permits working over a wide range of themes. Some of his paintings blissfully project the serene ambience of his current living place in Toronto. The colours involved are azure, scarlet, black and emerald green, representing Mother Nature in torrential colours and scenic depiction. Babul's canvases really prove his superb grasp of the aesthetic thinking process and the work reveals authentic adoration of natural world. Babul has taken the simple and general subjects of our surroundings and presented them in uncommon style that gives a deep expression of semi-abstraction and abstraction.
Among the sophisticated charismatic painters of the time, who in fact try to represent our glorious culture, heritage and tradition, Babul Mahmood is the most focused on aesthetic purposes. As a painter, he thinks he has some responsibility to the motherland, where he and his fourth generation were born.
Luminous colours on canvas
Md. Takir Hossain
The Daily Independent
Dhaka , Friday April 29, 2005
“My sense of drawing developed before I know the alphabet. When I was three or four years old, I was drawing with sticks on the soft earth of my “Uthan” (yard). As I grow to boyhood, I decided that I would be a full fledged artist. My aim in life was to study at the Fine Arts Institute of the University of Dhaka , where I appeared for my only admission interview. I was not interested in any field of study. But it is very difficult in our society to survive solely as a freelance painter. Which is why I had to chose another job, like many others. However, I have not given up my painting career.
In this exhibition as in my previous solo and group exhibitions, my childhood or the childhood of my generation, my environmental reality and that of Nature have been presented. In my work, I have always tried to look for my “self”, my identity – for what is truly my own: my civilization, my culture and my past. I firmly believe that we have a unique heritage that can be used in our creative work in many ways without having to intimate the west.”
Rare is the person who does not like to reminisce about his or her childhood days. Those days are very significant in every human life – and often memory thrives on a wealth of scenic and panoramic events that give our early memories their freshness. Babul Mahmood cherishes sinking in deep childhood nostalgia, when life was free and anything could be done. Spinning tops and flying kits were part of that passion. That is why Romantic Poet pronounced that what a child “is” foreshadows what he will accomplish in future. Consequently, it is clear those days can surface in an artistic work, blending truth and beauty in a sensational manner that can invite us to bask in the enjoyment of such exciting creative expansions. Babul has concentrated on the them of childhood and has tried to capture the theme in different forms, colours and shapes. Adroit application of light and shades are evident accomplishments, besides restless curves, round-square forms, rectangular-triangular lines and broken lines. This is because playing with forms is a foremost part of Babul's works.
Use of bright colors is another unique feature of Babul's paintings. In his use of colours, Babul frequently goes for vital colours from our natural world. It is not a rare sight in his paintings to fiend the original forms being split and summoned up in a new grab, an interpretation that permits working over a wide range of themes. “Underwater World” is a series of works in this solo exhibition, where Babul focuses on small fishes, middle-sized fishes, green shrubbery and unknown foliage – all in the watery world, specially in the depths of the seas surrounding St Martin 's Island – one of the great natural assets of our country.
Some of his paintings blissfully project the serene ambience of the island. The colours involved are azure, scarlet, black and emerald green, representing Mother Nature in torrential colours and scenic depiction. Babul's Canvases really prove his superb grasp of the aesthetic thinking process and the work reveals authentic adoration of our natural world.
Babul has taken the simple and general subjects of our surroundings and presented them in uncommon style that gives a deep expression of semi abstraction.
Babul is very anxious about the present state of the world “Stop Genocide-Iraq” is a series of works were pins, were and nylon nets have been used as medium for indicating the inhuman and callous life persisting in our world even in the Third Millennium. Expending various themes along with novel image bring to his work a conscious use of the medium, allowing the work to gain in lucidity. The attention-grabbing and eloquent appearance of Babul's works reflects that here is a painter, who is a man of passion and sensitive feelings. By comparing his former works with the recent one being shown in this exhibition, we can discern that he seems to be in search of finding his way to the right destination. This is an endeavour he seems to have been engaged in since the beginning of his creative odyssey as an artist. He adores to limn the various image, steeped in bright colours, in semi-abstract style and vivid realistic expression.
Some of his works depict our Language Movement, in a series of works done in acrylic and water on paper. The bangle alphabet, different lines and symbolic forms in semi-abstract way is visible in this work. International Mother Language Day is an honour bestowed by the international community on the Language Movement of Bangladesh. The recognition of this day serve not only to encourage linguistic diversity and multilingual education but also helps to develop a fuller awareness of linguistics and cultural traditions throughout the world and to inspire international solidarity based on understanding, tolerance and dialogue.
Among the avant-garde charismatic painter of this decade, who in fact try to represent our glorious culture, heritage and tradition, Babul Mahmood is the most focused on aesthetic purposes. As a painter, he things he has some responsibility to the motherland, where he and his fourth generation were born.
Last Sunday, the Russian Cultural Centre organized the 4th solo painting exhibition of Babul Mahmood. This exhibition will continue up to 30 th April. He is also a photographer. In 1996, he got special Award for stage decoration at Banaras Hindu University , India and in 1991, he also gained Photography Award from Bangladesh Photographic Society, Dhaka , Bangladesh.
Babul's buoyant world of whirling images
Fayza Haq
The Daily Star
Dhaka, Wesnesday April 27, 2005
Babul Mahmood's buoyant acrylic, watercolour and mixed media works are on display at an exhibition at the Russian Science and Culture Centre. He has continued with his acrylic work, and gone on to do watercolour, and more mixed media to express his unique emotions and experiences. Apart from earning a living as an art expert with a local firm, Babul works by night to best express himself.
In his mixed media work on Iraq and the Language Movement, Babul says, "An artist in Bangladesh, like myself, cannot take up arms against any powerful country waging a war. I can, however, show my protest. Similarly, I've idealised the martyred hundreds in 1952. In the watercolours, I've delineated my recent adventures and experiences at St Martin's Island, in the south of Bangladesh. This includes underwater diving during the full moon."
Babul has continued with his theme of nostalgia for his childhood days in his acrylics as he feels that childhood in his time, 30 years ago, was quite different from that of the present day Dhaka child -- cooped up in the urban existence of claustrophobic flats. "Even the parks and playgrounds of the schools, where children play, are limited in number and space or are non-existent. We've enjoyed large expanses of the countryside during my holidays. Today children do have vacations, but often that time off from school is crammed into TV viewing or book reading," he says. That is why he has repeated the images of the whirling tops and the flying, gliding kites, and the spools of threads. In search of a dramatic impact, he has gone in for contrasting loud colours.
Babul makes sketches of his works, and plans them out as he goes about his routine daytime profession. As the sun sets he begins painting. This is not just for the extra buck. He invests the earning from his exhibitions to buy more art equipment. "Urban existence in Dhaka is such that it is difficult to survive without an added income," Babul comments.
In the mixed media work are metal nails, wire netting, small cloth- and -wool dolls, and tiny wooden houses. These lend a new angle to Babul's works since his last flamboyant one at the Indian Cultural Centre. The swimming fish, coral, sand and sea representations in his St. Martin's Island portrayal capture the snoozing underwater world -- which local artists and photographers have diligently and cleverly covered over the last five years.
Babul did his Bachelors in Fine Arts from the Institute of Fine Arts, before proceeding to the Banaras University, through an Indian cultural exchange scholarship. Here he had some of the crème de la crème Indian art teachers. He began exhibiting his works in Banaras, as a student. He has, so far, taken part in more than 25 exhibitions at home and abroad -- including the displays at Kolkata, at the national competitions of the Shilpakala Academy, and those organised by the Institute of Fine Arts, DU (1985-1995).
Mahmood's exhibition tells the tale of humankind
Nafiza Dawala
The New Nation
Dhaka, Wesnesday April 27, 2005
Social problem is an integral part of every human being, young or old. It is such a thing that even two strangers begin conversation between them in the hope that a solution may be found through it. And when these problems are coupled with the subject of painting, an entirely different and unique image is created.
This is exactly what artist Babul Mahmood has tried to do. He has taken one of the most identifiable problems from each part of our life of home and abroad. For instance, childhood and stop the genocide on which he has worked reflect his different traits and futures. His exhibition now underway at Russian cultural center close on April 30.
From paintings on issues like Iraq and then shifting on to other aspects, this wasn't an instant change. It was gradual process undertaken after a lot and research and efforts. Babul Mahmood is holding the solo show after two years. And his efforts have borne fruit, in view of people's tremendous response.
The artist presents sixty paintings with three series work, including Childhood, Stop the genocide: Iraq and Underwater. The artist's themes are simple and artistic. One of his series work childhood, is tale of the experiences a child gathered. City life is full of restlessness; there is no security, no pace and no proper atmosphere to rear a child.
The artist believes that a child who cannot see the expanse of field and sky, bathe off pond and climb of trees, cannot grow full dimensions of mind and heart that makes the human being hole. These are the causes of his frustrations, and the sparks behind his work. These series are also a protest against cramped spaces in modern living conditions that limit the development of heart and mind.
His other series work titled ”Stop the genocide: Iraq's work representing his thought about recent development in Iraq. Talking about his working styles perhaps one may safely say that some of his works are semi-abstract, and some of impressionistic. This is true in case of “Under-water” series inspired by his recent visit to St. Martin's island. Those vibrant splashes of color in red and orange more the representation of joy in abstract from a joy of living he discovered in the free-rooming animals like fish, planet, sea snail and in the simple-minded people who have made St. Martin island inhabitable.
All age groups and generations have turned up to view his works. This idea has made people, not necessarily art lovers, to come closer to paintings.
Think about his work, he said, “In my work, I have always tried to look for myself, for what is truly my own, my civilization, my culture and my past. I firmly believe that we have a heritage of unique belonging that we can use in our creative work in many ways without having to imitate the west. The paintings reflect the innermost feelings of the artist who have held numerous exhibition earlier. The artist work's are exhibited in the exhibition, is in acrylic, watercolour and mixed media.
A self-thought artist, Mahmood has graduated in Fine Arts from Banaras Hindu University, India and Institute of Fine Arts, University of Dhaka, Bangladesh. He has had also some other creative qualifications like Photography, Digital Video Editing, Web designing and many others. Presently, he has been working as a Motion Photographer and Video Editor at multimedia department in Beximco Pharmaceuticals Ltd.
Reminiscences on canvas
By M. T. H.
The New Nation
Weekend Plus
Dhaka, Thursday April 28, 2005
Rare is the person who does not like to reminisce about his or her childhood days. Those days are very significant in every human life - and often memory thrives on a wealth of scenic and panoramic events that give our early memories their freshness. Babul Mahmood cherishes sinking in deep childhood nostalgia, when life was free and anything could be done. Spinning tops and flying kites were part of that passion. That is why a Romantic Poet pronounced that what a child "is" foreshadows what he will accomplish in future. Consequently, it is clear those days can surface in an artistic work, blending truth and beauty in a sensational manner that can invite us to bask in the enjoyment of such exciting creative expressions. Babul has concentrated on the theme of childhood and has tried to capture the theme in different forms, colours and shapes. Adroit application of light and shades are evident accomplishments, besides restless curves, round-square forms, rectangular-triangular lines and broken lines. This is because playing with forms is a foremost part of Babul's works.
Use of bright colours is another unique feature of Babul's paintings. In his use of colours, Babul frequently goes for vital colours from our natural world. It is not a rare sight in his paintings to find the original forms being split and summoned up in a new garb, an interpretation that permits working over a wide range of themes. "Under Water World" is a series of works in this solo exhibition, where Babul focuses on small fishes, middle-sized fishes, green shrubbery and unknown foliage - all in the watery world, specially in the depths of the seas surrounding St Martin's Island - one of the great natural assets of our country.
Some of his paintings blissfully project the serene ambience of the island. The colours involved are azure, scarlet, black and emerald green, representing Mother Nature in torrential colours and scenic depiction. Babul's canvases really prove his superb grasp of the aesthetic thinking process and the work reveals authentic adoration of our natural world.
Babul has taken the simple and general subjects of our surroundings and presented them in uncommon style that gives a deep expression of semi-abstraction.
Babul is very anxious about the present state of the world. "Stop Genocide-Iraq" is a series of works where pins, wires and nylon nets have been used as medium for indicating the inhuman and callous life persisting in our world even in the Third Millennium. Expanding various themes along with novel images bring to his works a conscious use of the medium, allowing the work to gain in lucidity. The attention-grabbing and eloquent appearance of Babul's works reflects that here is a painter, who is a man of passion and sensitive feelings. By comparing his former works with the recent one being shown in this exhibition, we can discern that he seems to be in search of finding his way to the right destination. This is an endeavour he seems to have been engaged in since the beginning of his creative odyssey as an artist. He adores to limn the various images, steeped in bright colours, in semi-abstract style and vivid realistic expression.
Some of his works depict our Language Movement, in a series of works done in acrylic and water on paper. The Bangla alphabet, different lines and symbolic forms in semi-abstract way is visible in this work. International Mother Language Day is an honour bestowed by the international community on the Language Movement of Bangladesh. The recognition of this day serves not only to encourage linguistic diversity and multilingual education but also helps to develop a fuller awareness of linguistic and cultural traditions throughout the world and to inspire international solidarity based on understanding, tolerance and dialogue.
Among the avant-garde charismatic painters of this decade, who in fact try to represent our glorious culture, heritage and tradition, Babul Mahmood is the most focused on aesthetic purposes. As a painter, he thinks he has some responsibility to the motherland, where he and his fourth generation were born.
"My sagacity of drawing developed before I knew the alphabet. When I was three or four years old, I was drawing with sticks on the soft earth of my "uthon" (yard). As I grew to boyhood, I intended that I would be a full-fledged artist. My aim in life was to study at the Fine Arts Institute of the University of Dhaka, where I appeared for my only admission interview. I was not interested in any field of study. But it is very difficult in our society to survive solely as s free-lance painter. Which is why I had to choose another job, like many others. However, I have not given up my painting career.
In this exhibition as in my previous solo and group exhibitions, my childhood or the childhood of my generation, my environmental reality and that of Nature have been presented. In my work, I have always tried to look for my "Self", my identity - for what is truly my own: my civilisation, my culture and my past. I firmly believe that we have a unique heritage that can be used in our creative work in many ways without having to imitate the West." Expressed Babul Mahmood.
Last Sunday, the Russian Cultural Centre organised the 4th solo painting exhibition of this promising painter. This exhibition will continue upto 30th April. He is also a photographer. In 1996, he got Special Award for stage decoration at Benares Hindu University, India and in 1991, he also gained Photography Award from Bangladesh Photographic Society, Dhaka.
Babul Mahmood's solo painting exhibition
Robab Rosan
The New Age
Dhaka, Wednesday April 27, 2005
Babul Mahmood's fourth painting exhibition is being held at the Russian Centre for Science and Culture in Dhanmondi from April 24. The exhibition will remain open from 4:00pm to 7:30pm till April 30.
Babul Mahmood, who had his Bachelors degree in drawing and painting from the Institute of Fine Art of the Dhaka University in 1989, got a scholarship to Banaras Hindu University in 1995, under the Indian Council for Cultural Relations (ICCR) where he did a Masters degree in Creative Painting.
Sixty of his paintings, done in the last three years, are being displayed in the exhibition. In the serie, Stop the Genocide, the painter has presented the sufferings of the common people in Iraq. 'I have expressed my protest against war through my paintings, a war which was started, defying all international outcries. I have protested against the destruction of the relics of the ancient civilization in Iraq.'
Using acrylic, Mahmood has painted barbed-wire, images of children and symbols of dead bodies. He has used dots of red colour to depict bloodshed.
In his Childhood series, has used symbols of kites and latim (tops). 'Recalling my childhood memory I have used these images in my canvas. I think kites are synonymous with the sky, just as tops are with earth. I have tried to present both the fertility of the earth and the vastness of the sky.' His works, done in a semi abstract style, are both in watercolour and acrylic.
The series of the Underwater World, Mahmood has portrayed calm and colourful images of the flora and fauna in the sea. 'I can feel the free movement of fishes in schools and other living creatures in the underwater world. I try to depict the colours of the sea.' His Underwater World-1 and Underwater World-2 present the water in Prussian blue and fauna in black. The colours are very eye-soothing and appealing. The painter has also used many other hues in this series.
Mahmood has portrayed the recent catastrophic disaster of the tsunami on his canvas too.
Nostalgia on Canvas
Md. Takir Hossain
The Daily Independent
Dhaka , 15 August 2005
“1984 is a remarkable year in my life.” Babul Mahmood, a promising and passionate artist told the weekend independent, “This was when Artist Monirul Islam inspired me to get admission in the Institute of Fine Arts . This has been my dream since my childhood- the time I lost my mother. I cannot remember her face. Deprived of learning the alphabet and living an uncared childhood, drawing became my sole passion''. He added with a smile, “Doors, window, the front and back yard, the floor and the school state became my canvas!''
But now Babul is doing his best creations on canvas “This is a perfect place where I can get shelter. Losing my mother, a painful incident in my whole life, it was my father, who encouraged in me an art. However, many relatives disapproved out of religious superstition''.
The artist as a student used to go with his friends to Ramna Park , Kaligonj, Kamrangirchor and other places of natural beauty to paint. “At noon we took buttered bun and tea, the cheapest lunch possible. My friends and I were going through a money crisis. Sometime we sold paintings, which gave us enjoyment – and we were retrieved from the money crisis. One day, a foreigner bought one of my realistic work. I shall never forget that sweet moment in my life. That painting was very affluent and one of my favorites, but there was nothing to be done except sell it''.
Babul Mahmood delves deep in the memories of childhood. Like many other artists his imagination is also fuelled by the pleasant events of past days. Flying kites and spinning tops crowd Babul's works. His mood of expressions is not realistic – but mostly semi-abstract, where kits and tops are presented in various ways.
Babul says, “I am a son of this reason. I always give priority to my region's culture and heritage. Spinning top and flying kites are both part of our childhood culture.
Vital colors are another characteristic of Babul's imagination world. We can fiend a lot of colors on his canvas to represent his colorful childhood days. The artist is now having an exhibition at Calcutta – a great window of opportunity for representing our artistic work in the other world.
Babul's buoyant world of whirling images
Bangladesh News
Babul Mahmood's buoyant acrylic, watercolour and mixed media works are on display at an exhibition at the Russian Science and Culture Centre. He has continued with his acrylic work, and gone on to do watercolour, and more mixed media to express his unique emotions and experiences. Apart from earning a living as an art expert with a local firm, Babul works by night to best express himself.
In his mixed media work on Iraq and the Language Movement, Babul says, “An artist in Bangladesh, like myself, cannot take up arms against any powerful country waging a war. I can, however, show my protest. Similarly, I've idealised the martyred hundreds in 1952. In the watercolours, I've delineated my recent adventures and experiences at St Martin's Island, in the south of Bangladesh. This includes underwater diving during the full moon.”
Babul has continued with his theme of nostalgia for his childhood days in his acrylics as he feels that childhood in his time, 30 years ago, was quite different from that of the present day Dhaka child — cooped up in the urban existence of claustrophobic flats. “Even the parks and playgrounds of the schools, where children play, are limited in number and space or are non-existent. We've enjoyed large expanses of the countryside during my holidays. Today children do have vacations, but often that time off from school is crammed into TV viewing or book reading,” he says. That is why he has repeated the images of the whirling tops and the flying, gliding kites, and the spools of threads. In search of a dramatic impact, he has gone in for contrasting loud colours.
Babul makes sketches of his works, and plans them out as he goes about his routine daytime profession. As the sun sets he begins painting. This is not just for the extra buck. He invests the earning from his exhibitions to buy more art equipment. “Urban existence in Dhaka is such that it is difficult to survive without an added income,” Babul comments.
In the mixed media work are metal nails, wire netting, small cloth- and -wool dolls, and tiny wooden houses. These lend a new angle to Babul's works since his last flamboyant one at the Indian Cultural Centre. The swimming fish, coral, sand and sea representations in his St. Martin's Island portrayal capture the snoozing underwater world — which local artists and photographers have diligently and cleverly covered over the last five years.
Babul did his Bachelors in Fine Arts from the Institute of Fine Arts, before proceeding to the Banaras University, through an Indian cultural exchange scholarship. Here he had some of the crème de la crème Indian art teachers. He began exhibiting his works in Banaras, as a student. He has, so far, taken part in more than 25 exhibitions at home and abroad — including the displays at Kolkata, at the national competitions of the Shilpakala Academy, and those organised by the Institute of Fine Arts, DU (1985-1995).
Babul Mahmud's painting show
Cultural Correspondend
The Daily New Age
April 24, 2005
The fourth solo painting exhibition of promising young artist Babul Mahmud will begin at the Russian Cultural Centre in Dhaka at 6:00pm on April 24. The show will remain open from 4:00pm to 7.30pm everyday and will continue till April 30, 2005.
Poet Nirmalendu goon will inaugurate the show as chief guest. Among others, Yuri I Makarov, Director of the Russian Centre of Science & Cultural, Dhaka and renowned art critic Moinuddin Khaled will be present as guests. Babul Mahmud has been educated in Fine Arts in Dhaka University and Banaras Hindu University, India.
Flying kite and spinning top
The Daily Independent
By Takir Hossain
Dhaka , 28 March 2003
Of human life, divided into several stages, a foremost part is childhood. ‘‘The child is the father of the man''. Observed and English romantic poet and often it has been – but not always – that childhood foreshadows our future. Babul Mahmood, a visionary artist also a photographer, imagines life from a toddler's viewpoint. Naturally he is depressed by his existing life. The bulkier part of the world is now war, butchery, famine and lots of devastation. Babul Mahmood feels hopeless and bamboozled.
Babul represents life in his present exhibition in the form of three series of work – while ‘‘fling kite'' and ‘‘spinning top'' are related to childhood, ‘‘human life'' is connected with the good and bad side of human nature. ‘‘Flying kite'' is a lively series of work. Babul says, ‘‘I lost my mother in my childhood. Deprived of learning the alphabet, drawing and flying kites were my only passion. My drawing then were full of images of different type of kites. I even draw on the floor.''
We can find now lots of color on his canvas representing his colorful childhood. ‘‘spinning top'' is another series work involving a boy's favorite past time. Babul said, ‘‘I thing I was a vigorous as a spinning top in my boyhood. But day by day, I have lost that unbounded sprit. When I recall those days, I gain the energy to work on canvas.''
Babul's ‘‘Human being'' depicts our life. We are of duality – good and bad abiding side by side. Though the bad works gradually to destroy a human life, good works ensure our well-being and that of family and society. Fairness, trust, impartiality, tolerance of malice bring elegance in our humanity.
Canvas of childhood memories
The Daily Telegraphs
Kolkata, India
Wednesday, September 03, 2003
I have had playmates, I have had companions,/ In my days of childhood, in my joyful school-days — All, all are gone, the old familiar faces — Charles Lamb
“Childhood shows the man as morning shows the day” goes the saying. It is indeed the golden period of a man's life. The very fountain of energy and innocence, “a stranger yet to pain” children's world is sunshine, laughter and fun. It is the very foundation stone on which memories build up over the years. These memories form the elixir of life that keeps one going later on. Many childhood memories remain embedded in the subconscious and are reflected or manifested in various ways in our adulthood. Babul Mahmood is a talented artist who often reaches in to his subconscious mind, digs out precious memories and blends them with his mature intellect to create memorable canvases. Two of his favourite sports, flying kites and spinning tops recur in his paintings like leit motif . They occupy canvas space not just as objects but also symbolise aspiration and hope, movement and speed. Vibrantly colourful kites flying in the infinite sky, attempting to cross the boundary of space reflect his desire to explore the unknown. His mature strokes and deft handling are evident in his executions.
Fun and frolic gathered from the past
Babul Mahmood's exhibition at Zainul Gallery
Fayza Haq
The Daily Star
Dhaka, Friday, April 11, 2003
As an escape from the war news and turmoil of his adult years, Babul Mahmood turns to the innocent games of his childhood days and glorifies them in acrylic on canvas. Like many other artist Babul turns away from the reality that surrounds him to find solace and peace in his past where innocent games of kites and tops filled his days. With the disturbing news of war of the present times one cannot blame him for resorting to the past. These paintings are not totally realistic and with lines, dots, swirls and splashes the artist conveys his feelings on a magnificent scale. Babul loves motifs and he has filled his canvas with startling colours and lines that pulsate with life.
In his recent exhibition, "My dream, my childhood", at Zainul Gallery, the painting "Childhood-3", acrylic on canvas, brought sections of two massive tops whizzing on a background of beige, white, salmon pink and gray blue. In the backdrop were impressions of more tops, with outlines of dark red and gray-blue. Sparks appeared to be coming off the tops in the forms of speckles of red, indigo and white. On top was a bar of indigo with suggestions of more gyrating images in splashes of vermilion and yellow ochre touched with white and black. In the foreground were a riot of colours with red, yellow and indigo dominating the others.
Swirling tops with their bottoms of sharp nails were seen in action in "Childhood-2". The subjects were in gray green, touched with beige, white and indigo. They too appeared to send off sparks as they appeared to move in the backdrop of splashes of white, beige and gray. Outlines of little tops and kites were in the pale background. The objects are framed by broad indigo bars at the top and bottom. Numerous kites in different sizes and colours were found at the top while in the bottom were abstract shapes that spoke of joy and excitement and had been done in yellow, ochre, red and shades of blue. There were connected to each other with delicate white and gray lines.
A single large top was brought in "Childhood-1" which had been done with swirls of indigo, gray, beige and red. Two smaller tops were brought in the background of white and beige mixed with blue. Two simplified shapes of children were outline at the two sides, one leaning over and the other bending down. Both at the top and bottom bars were brilliant colours of orange, russet, red, blending and mixing with white and black.
More images of contentment and joy of the days gone by were seen in "Childhood 20". This had blue, red and beige kits flying high on a pale sky with their trailing wriggling threads. Below were the wheels of ropes seen in red, white, black and indigo, with bold swirls at the bottom. Twisting tops at the bottom and flying kites at the top with and expanse of the beige white sky in between were found in "Childhood-21". Here too the colours ranged from indigo and red to beige and black with touches of dark sweeps at the top and bottom to frame the subjects.
Bold splashes of orange, red and indigo form the background for the two tops in "Childhood-14". Here the backdrop appeared more worked on than the main subjects in red and indigo in front. Once again the action of the toys had been captured subtlety. Two tiny whizzing tops had been included at the back. More red, indigo and black kites swirled and glided in the pale golden sky in "Childhood-8" while the black and gray reels of threads for the kites had been placed dramatically in the left forefront. Squiggles of yellow, red, blue and green covered the rest of the space in front and added gaiety to the mood of the painting.Four black and red tops appeared to meet in mid sky and give off red and blue sparks in "Childhood 24" while the bottom half of the canvas had been covered with a riot of zigzag lines in yellow, umber, blue, green, white and black. Similarly in "Childhood-25" one saw silhouettes of tops flying apart after meeting together on a white background. Below heaping of colours with simple strokes in red, blue, yellow and gray provided the contrast.
Babul Mahmood, who got his MFA in Creative Painting in 1995 has had two awards, one being from India and the other from Bangladesh. He has held two solo painting exhibitions and over twenty group shows in India and Bangladesh. He has training in film making, digital video production and photography.
Canvas of Joyful Memory
Prasanta Daw, art critic
Kolkata, India
Most children involve in multifarious activities during their childhood days. Memories of some such activities remain embedded in their subconscious minds even as they grow up. For most creative minds those nostalgic feelings find form through their creative expressions. One such instance is painter BABUL MAHMOOD whose childhood memories blended with his mature intellect are reflected through his canvases. Depiction of flying kites with reels and spinning tops in his paintings are symbols reminiscent of his childhood memories. Kite flying and spinning tops are the part of our age, old custom and also a unique form of recreation and fun. They also bear a different meaning in the context of Babul's paintings. They signify aspiration and hope, movement and speed, which are a part of every human life cycle. Vibrantly colorful kites flying in the infinite sky attempting to cross the boundary of space reflects the desire to explore the unexplored.
The artist's aforesaid feelings, passions transcend in his canvas with a melodious tune of warm bright colors. Skillful application of light and shades are also evident in his executions. Restless curves, round, square forms represent speedy movements and boundless ambitions of mankind. This eternal theme has been interpreted in a creative language with a deep aesthetic sensibility.
Babul's Canvas salutes the female role in 71
By Md. Takir Hossain
The Daily Independent
Dhaka , 12 December 2003
‘Victory in 1971 did not come through the efforts of the man alone. Women also played a part. They hid members of the Mukti Bahini, supplied arms and above all became victims of physical torture of the invading force. Every year when we remember the glory of the freedom fighters, we forget the role that the fairer sex played in 1971. Babul Mahmood devotes his works to these women, who participated in the war and after it remained in silent pain'.
1971 is a remarkable year for all of us. Our identity, personality and our existence all are rooted to that year. As this week weakened Independent is devoting the cover story to victory day, we have focused on 1971 related artworks.
Babul Mahmood is a promising and prominent young artist in our art arena who has been working from last decade on ‘1971' and its perspectives. His Birrangana (Victim women) and Ekushey Shorone (In commemoration of 21 st February) are two series of works where we find two memorable events that influence our identity as a nation.
‘‘Birrangana'' (Victim women), is a series of works done in oil. It is profoundly connected to our freedom struggle of 1971.
Like men, many women also played a part in securing our independence and some of them sacrificed their womanhood to give us our liberty and this exhibition pays respect to them. Unfortunately, most of these women are now neglected and are ignored by society.
These women, despite their sacrifice have largely reminded hidden from history. It is only recently that they have started revealing their own experience of resistance and active participation in the war. This involves, how they concealed or carried arms and messages to the front and aided the Mukti Bahini. Memories of torture, pain of losing their chastity, rape and violence have left a deep mark on their psyche and have destroyed their lives. For so many victims, the silence of pain has continued long after the war is never highlighted and the new generation has very little idea of what they did. ‘‘So, in my works I have tried to respect these victim women and their assistance that have never been properly acknowledged. When I finished this series it proved popular, I felt a humble but burning pride. In future I will do more works on this subject.'' Remarked Babul Mahmood.
Ekushey Shorone (In commemoration of 21 st February) is a series of watercolors. Language movement was a significant part for assembling common people for the establishment of bangle as a language. Babul has great respect for our language movement and comments, ‘‘Now-a-days no body shows interest in there works that deal with aspects of liberation and freedom. It is a pity that we have already started forgetting our glorious past that consists our origin and identity. Liberation has not come in a single day. Language movement was the first step for the attainment of our independence. Bangladesh is the only country in the world where men sacrificed their lives for establishing the mother language. So, 21 st February is also a distinguished date for us.''
Babul Mahmood had three solo art exhibitions such at the Zainul Gallery, Indian Cultural Centre and Academy of Fine Arts , Kolkata , India and took part in numerous local group exhibitions from 1986 to 2003.
Babul's fantastic world
Cultural Reporter
The Bangladesh Today
Dhaka , 28 March 2003
Babul Mahmood is a visionary artist. He is very much depressed for his present life that surrounds him - the world is now a bulky part of war, famine, butchery, jealousy and devastations. Naturally, all these make him frustrated. The present display, which is full of childhood memorabilia, perhaps, reflects the emotion.
Babul presents his present exhibition in three series of work-‘‘flying kite'' and ‘‘spinning top'' are related to childhood memories and ‘‘human life'' is linked with good and bad side of human being.
‘‘Flying kite'' is an affluent series of work, where we can see colorful kites, spool/reel and diverse color of fiber. This is a local and traditional game in Bangladesh . ‘‘Spinning top'' is another series that portrays Babul's another childhood game-various tops are spinning on his canvas which is quite lively. Broken top is another remarkable part in his spinning top series. Some tome can be broken being hit by another which is shocking – black taint has been used for broken top which reflects his inner world. Babul's ‘‘Human being'' impersonates our life. We are a man of duel combination – good site and bad site. We can see that he has used white cloth on the canvas, symbolized good and bad traits that constitute a man's life.
We can find a lot of color on his canvas-black, white, yellow, crimson, azure and other miscellaneous colors have been used on a large scale for representing his colorful children's days. Babul is now dweller of a modern city for his survival but his inner self always quests for childhood days.
Babul who is also a photographer, took part in many group exhibitions and got many awards. This is his 2 nd solo painting exhibition, which is being held at Zainul Art Gallery .
Babul's jovial world
By Md. Takir Hossain
The Daily Independent
Dhaka , 13 September 2002
Babul Mahmood says, ‘‘I lost my mother in my child hood. Deprived of learning the alphabet, drawing became my sole passion. When my age was eight or nine, I started drawing on the floor. My parents and relative would stare with astonishment at my works and always encouraged me. After completing my SSC, I participated in different type of competitions and gained a lot of awards.''
In his work we can see the natural beauty of our country and the exquisiteness of our folk culture, which get due priority. Adulation, contentment, heartache, enthusiasm, recrimination these feelings and struggle in life characterize his works. Scarecrow we see the familiar figure in all its bucolic charm. The scarecrow is observed at the hub of activity adjacent to the cornfield scaring away birds so that they cannot wreck the corn. A small cottege is also noticeable where lives a peasant's boy who watches over the scarecrow.
In another works we can see some local trees, board bushes and some human figures. A woman is carrying something on her head. She was worn a ragged sari, a symbol of our working woman in the countryside. Two males and females are chatting and swapping gossip. Hushed ambience along with clarity of nature is also added in his work. In another works we can see some woman are bathing, a common sight in our rural life. They expend their horizon of knowledge by exchanging each other's ideas. In color of pure and splendid emerald green, pale yellow, crimson, black, azure and white the canvas gradually draws us in to a world were tree and bush are expressed by emerald green, the sky indicated by indigo. Dry leaves are pale yellow, black blurs and screen bitter scenes with a welcome haziness.
In Babul's ‘‘Birrangana'' (victim woman), correlated to our freedom struggle in 1971 as the most significant landmark in the history of Bangladesh, depicts that victims of the tyrannical Pakistanis of that time, even if woman, are part and parcel of our glorious history. They are now neglected and lost member of our society.
Babul notes, ‘‘Rape was the ultimate price woman paid in the war of liberation. They became oaths for the army and the collaborators. Victim woman have largely remained hidden from this history. It is only recently that they have started revealing their own experience of resistance and active participation in the war, how they concealed or carried arms and messages to the front. Memories of torture, rape and violence have left a deep scar on their psyche and destroyed individual lives. For so many victims, they silence of pain has persisted long after the war was over. When I finished this series and it proved popular, I left a humbling, burning pride. In future I will do more works on this subject.''
In another sumptuous work ‘‘humanism'', done in kashi, a holy place for followers of Hinduism but where followers of other religions gather, highlights amity and admiration that is created here. Babul's, who has participated in over 20 group exhibitions at Dhaka and different places on India , is also a photographer who has own wards from the Bangladesh photographic society.
