Chandra Shekhar Dey: When the pen is mightier than the brush

"People recognise my art, they don't recognise me,"— perhaps this one sentence best describes the person; the artist that you are about to read about.

Chandra Shekhar Dey has been painting for as long as he can remember. If you went on study tours to places like Ahsan Manzil, The Army Museum, or Bangladesh Shilpakala Academy when you were a school kid, you probably encountered some of his large paintings.

He's been a professional and freelance artist since the 1970s, but he's about to have only his third solo exhibition.

In just two days, on 3 May, Uttara's Galleri Kaya will unveil 'Reality, Fantasy & Dilemma,' which is Shekhar's first solo exhibition in nearly a quarter of a century.

The exhibition's themes reflect Shekhar's perspective on his art and its inspirations

"The title 'Reality' reflects my approach, as my art draws from everyday life and my personal experiences. I often create based on my surroundings and my emotions at the time. There's a genuine authenticity and sincerity in painting from reality," Shekhar started explaining.

The 'fantasy' aspect of Shekhar's work stems from his extensive experience illustrating children's books and from his personal life—particularly his interfaith, mixed marriage. As a follower of Hinduism married to a Muslim woman, Shekhar used to immerse himself in the mythical narratives of the Bhagavad Geeta and the Ramayana, while also developing a deep interest in Islamic teachings about the afterlife. 

This unique blend of influences has allowed him to explore various fantastical realms in his mind and imagination, resulting in artworks that are deeply rooted in fantasy.

"I used to immerse myself in fairytale stories. If you really think about it, the fantasy realms and their stories sometimes do align with the reality of our lives," said Shekhar.

The 'fantasy' elements in Shekhar's art also arise from the blending of Western and Oriental influences. This fusion leads to a "dilemma", depicted in his paintings. This might sound confusing, but let Shekhar explain this in his own words.

Shekhar referred to several of his paintings that feature female subjects such as 'Posture–4', 'Stories of my time–4,' and 'Model–3' as examples.

"In our country, you often see paintings of rural women, like scenes of women walking by a river bank or working in fields. However, I never lived or grew up in villages. So, when I paint a 'local' woman, it doesn't necessarily mean she is from the village," Shekhar explained.

He continues, "Take this woman, for instance, she is educated. Notice her choice of clothes; though she is from this part of the world, her attire is Western. You see, it's not immediately clear who this woman is, where she is from, or what influences her. This ambiguity is the 'dilemma.'"

Shekhar, naturally introverted, has always preferred solitude and was never one to seek professional favours or spotlight, despite the extensive network he built over his career. This might explain why this is only his second solo exhibition since the turn of the century.

The story behind this exhibition is equally intriguing. As a freelance artist, Shekhar rarely kept or preserved his artworks; they were typically sold to investors or clients as soon as they were completed.

However, Goutam Chakraborty, the founder of Galleri Kaya, encouraged Shekhar to hold onto his paintings for a year, rather than selling them immediately. Goutam envisioned hosting an exhibition at his gallery featuring the artworks Shekhar had accumulated. Most of the pieces on display were specifically created and stored by Shekhar over the past 12 to 18 months for this exhibition, though some are from years past.

When the pen makes the point

From the moment Shekhar's eyes fell upon a reproduction of Picasso's 'Lovers' on a calendar—a gift from his sister whom he affectionately called "didi," when he was a child—he was hooked to art.

One of Shekhar's remarkable features is the intricate detailing, particularly those created with a ballpoint pen. 

During the seventies and early eighties, Shekhar assumed the role of a stay-at-home dad, managing his freelance art from home while caring for his infant daughter, as his wife worked multiple jobs. His daily life during this period, filled with domestic scenes and personal moments, heavily influenced his art. 

Recovering from multiple surgeries over the years, Shekhar found it easier to use a ballpoint pen rather than a brush, enabling him to achieve astonishing levels of detail in his drawings, even in the simplest subjects.

Visitors to Galleri Kaya from 3rd to 17th May will be met with Shekhars' elaborate compositions, featuring vivid human expressions. His work involves a rich blend of scribbles, lines, and blurred figures, interspersed with symbolic elements like triangular shapes and tree skeletons, all weaving together themes of struggle, desire, and joy.

Shekhar's artistry is characterised by its vast versatility and seamless navigation through diverse artistic styles—from realism and surrealism, to abstract impressionism and neo-expressionism. His profound attention to detail is visible in every piece, whether on canvas or paper, producing visually stunning textures and imagery.

Deeply shaped by the War of Liberation, his paintings often present a stark contrast between light and shadow, invoking feelings of loss and sorrow. Shekhar's figures, enigmatic and seemingly detached, exist in their mystical world, merging folklore with fantasy and reality to create a deep, eerie, and immersive atmosphere in his artwork.

The artist has taken part in national and international exhibitions, including countries such as Zimbabwe, India, and Japan. His expertise has landed him prestigious awards such as the Academy Padak, Bangladesh Fine Arts Academy (2017) and the Grand Award, Annual Exhibition, Shaju Art Gallery (2000).