“The way farer’s travelogue” is an exhibition of the comfortably uncomfortable execution of two-dimensional mixed media art, where a person travels in a specific time, being an artist. And tried to collocate a life-leading process with art, which would usually be different for a practitioner who came from the academic gyre. On the contrary, it’s much easier to travel through the process of creating art for a self-taught artist and poet like Nahid Ul Islam, because of the stratagem of artist Nahid Ul’s comprehensive creation. Although this comprehensiveness and his experience of diverse lives depict maturity in a sort of academic way rather than non-academic. Which he tamed by interconnection with the academic art practitioner. Where, from the artist’s vantage point, its planned unplanned color, lines and known-unknown forms depict comprehensive representation in his paintings. Sometimes those paintings represent the outcome of mental therapy or art therapy. Sometimes you can notice consciously repeatedly identified or unidentified objects just to amuse oneself. The space in between the two colors can be distinguished as a warm mystery. The specialty of Nahid Ul’s material (surface and color) selection makes him distinct from that of others practitioners and it has served as a forte in context, material, surface and artist’s life, rather than the image. Nadid Ul drew on his painting with the approach of tracing, which we can say, he offers himself as an archiver from his own time. One of the finest examples could help to achieve his experimentation in life- the use of his pseudonym in different aspects, like- Sajib Islam, Sajib Nazrul, Nazir Ashraf and Faruq Aniket.
Although in the 21st century, giving priority in an artist’s life could be seen as a romantic thought in percentage. But in the case of Nahid Ul’s averse to life, we should get a sight of differently just because of his poetry and painting’s knitting of the time, relation and creation.
During his college life he got the inspiration to go through the thought process in art culture and leftist politics from his Bratachari father (Nazrul Islam) without having an academic background. At that time, after the collapse of the Soviet Union makes him apathetic to his mental malady. After that situation, Nahid Ul got understanding and more involved in his art during his Kolkata and later on London life. In 2010, his bad fate and false allegations put him in prison, which made him far-away from society and family. Here, under the title of “The way farer’s travelogue” exhibition, we tried to depict or find a person like Nahid Ul Islam’s journey. With all the feelings he brings up in his poetry in prison life.