Echoes of Existence: When sarcasm conveys the message
Using pop art, line art, and drawing on iconic imagery, Ripon Saha invites viewers to glimpse into human identity while probing socio-political issues
The piece, 'Eco of Existence 3' is probably the first art piece that drew me in. After all, it paints the iconic scene from the film 'Titanic' but instead of the ship, Jack and Rose are standing on a whale. And in the mouth of the whale is a shopping cart.
At first glance, this piece seems undeniably a bit nonsensical. But the meaning becomes clearer the longer you observe it. The iconic scene is a symbol of the commercial success of a movie based on a tragedy, and yet the ocean itself has gone neglected.
In similar fashion, each piece in the exhibition seemed quite straightforward yet silly, but they are in fact striking commentary on society, especially focusing on political and environmental themes.
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Artist Ripon Saha's exhibition, 'Echoes of Existence', curated by Wakilur Rahman showcases a collection of his works created over the past three years, each piece telling a striking message. The exhibition began on 26 October and will come to a close on 11 November.
Using pop art, line art, and drawing on iconic imagery, the artist invites viewers to glimpse into human identity while probing socio-political issues.
They go beyond mere visuals; they critique, analyse, and reveal the deeper layers of human existence. The collection of pieces truly reflect the change in time, as it spans across three years through shifting themes across the gallery.
Curator Wakilur Rahman mentions how political turmoil, especially during the July uprising, had temporarily brough events such as exhibitions to a halt. Now, the gallery owners are pushing onwards, and Rahman felt like Saha's bold work was relevant.
"We have been keeping an eye out for Ripon's work for a while now," said Wakilur Rahman.
Ripon's range of subject matter allowed the curator to present an exhibition exploring a variety of themes, keeping the audience engaged. It was strikingly neat yet pleasantly colourful.
Another piece that caught my eye in Kala Kendra's halls humorously depicted a meaningful message: three monkeys sitting atop a giant banana, each covering either its ears, mouth, or eyes—an illustration of the proverb "See no evil, hear no evil, speak no evil."
The banana itself, growing out of a hand and turning into a tree, symbolises the proverb 'Angul fuley kolagach', (which roughly translates to the proverb: from rags to riches) hinting at people who gain influence unjustly, while society ignores their misdeeds. This piece conveyed a sharp message about societal issues we see so often that it has become a normal sight, a recipe for socio-economic and political disaster.
The piece creates a striking image of the true meaning of the proverb, and almost acts like a mirror, reflecting back on society. Despite the fact that it was created with a little sarcasm, the fact that it prods at a very real problem makes it an enjoyable piece.
Similar to this, another painting portrayed a watch but from its belts, two people were coming out and in the end hugging each other, as they met. It symbolises how time brings people together.
Reality differs for everyone; we each carry echoes of our unique perspectives. Human struggles may fade with time, but they remain true, finding expression in the world. The varied art in Kala Kendra's exhibition speaks of these struggles and acknowledges the untold stories.
