Introduction

I first encountered Nusrat Jahan Nazlee around 2018 during her solo exhibition at a gallery in the city. I had been familiar with her name long before that having admired her vibrant paintings displayed in various locations throughout Dhaka. Following our introduction, I had the opportunity to visit her residence-cum-studio on several occasions and I came to appreciate her passion and enthusiasm for art. Nazlee is a dedicated proponent of realism in our country, and her thought process and convictions deeply resonate with this artistic genre. She creates her paintings from a place of genuine emotion, with art being intricately linked to her life since childhood. Naturally, as a painter, Nazlee was significantly influenced by her surroundings during her formative years. At that time, her expression was distinctly realistic, as she meticulously explored the details of her subjects. The quiet and serene locations tremendously influenced her and she painted tranquil nature and the splendour of the river.

It can be easily comprehended that Nazlee's paintings are time-consuming, cerebrally sound, and thought-provoking. Most of her works are collage-based, for which she uses clothes, sticks of different categories, net, locking loops, pages of diaries, torn clothes, etc. She has used varied materials and natural stuff in her paintings. Throughout her illustrious career, the artist has worked on varied themes, portraying them in her style and technique. Her themes have always been closely connected to the soil of Bengal and its people.

Nazlee's residence is adorned with an array of paintings that vary in size and exhibit striking realism and vibrancy. Her artistic passion is evident in her depictions of blossoming flowers, trees, colourful plants, doors, boats, and the picturesque beauty of rivers, alongside the historical narrative of 1971 that is vividly portrayed on her canvases. Nazlee's adept use of colour reflects her mastery of the art form. She consistently employs a specific narrative style to bring the stories behind her paintings to life. For an extended period, she has diligently studied the dynamics of movement and the arrangement of her compositions. This meticulous attention to composition and object placement is a hallmark of her work. The artist is celebrated for her bold approach, where she goes to great lengths to convey her subjects.

I have observed that Nazlee is making significant strides in her artistic journey through her dedicated commitment to the field of art. Her self-assurance has enabled her to establish herself as an artist. She uniquely captures the beauty and vibrancy of nature on her canvas. Throughout various stages of her career, Nazlee's artistic styles can be classified as realistic, semi-realistic, and impressionistic. The artist invests considerable time in completing each of her works. Through her deliberate and unhurried brushwork and gentle textures, the canvas achieves a remarkable appearance. The colours she employs convey a unique narrative that reflects her determination, aspirations, and dedication to her art.

Experimentation is her forte. Nazlee is a pure experimental artist. Media is also very significant in her mode of articulation. She likes to experiment with varied mediums, shades, techniques and materials. She constructs her backdrops, objects, colours, tones, and textures in a unique manner. She also frequently searches the boundaries of expressions with diverse objects and compositions. Besides these, her work is elucidated by a powerful interplay of realistic objects and space, helped by strong and sweeping brushstrokes. She has also used several kinds of lines through brush. She has been utilising brush from her childhood. The artist is very spontaneous when it comes to using this particular tool. She has meticulously gone through various phases of experimentation with subjects, colours, textures and tones.

An introspective and imaginative painter, Nazlee has taken her colours from nature and that is why colour is the most significant aspect in her works. She likes to experiment with colours in all its various facets. She applies colour directly, piling up thick layers on the canvas. She has concentrated on applying colours. Deep layers of colours provide a unique texture to her paintings and that is why her canvas carries a singular hallmark. Her paintings create an expression on the essence of a colour and what the colours really mean. Over the years, Nazlee has developed this technique, which is very expensive and time-consuming, requiring immense effort and devotion. She has used nature's colour as her principal source for motifs and forms. The delicacy of her lines, forms and colours are derived from the natural world and have evolved from a more traditional style to realistic that intensify panoramic views and imagination.

Adolescence, education, and married life

Nazlee was born and raised in Dhaka, where her father held a prominent position in the Bangladesh Government. Due to his transfer to various districts, Nazlee spent her formative years in Dhaka, Chittagong, and Khulna. She showed a strong passion for drawing at early age, often utilising calendar pages as her canvas. Her class teacher appreciated her talent, and her peers used to eagerly wait for her next artistic creations. In addition to her drawing pursuits, she worked for dramas during the school's cultural programs and also engaged in various sports activities. She took her BA degree from a local college in Dhaka.

Nazlee, a dedicated housewife, has carved out a segment of her daily routine for the pursuit of painting after fulfilling her family responsibilities. In addition to her passion for painting, she is also interested in interior decoration. She designed the interior of her elegant two-story home. Furthermore, she possesses a keen interest in landscape architecture.

An accomplished cook, Nazlee's food presentation is truly commendable. Her father-in-law, Md Shamsul Haque, a former president of Beximco and later the founder of Shams Group, holds her in high regard. Nazlee is also skilled in cake-making, and her culinary creations and presentation are highly praiseworthy. During his travels abroad, her father-in-law thoughtfully brought back colour tubes of multiple shades, spatulas, brushes, and other materials essential for her painting endeavours.

Nazlee's spouse, Md. Shamsul Huda, consistently motivates her to pursue her passion for painting. Upon the completion of each artwork, her husband is the first to view it and provide feedback. Nazlee believes that her journey as a painter would be significantly more challenging without the inspiration and support from her husband. Additionally, her brother-in-law, Md. Shamsu Zoha regularly brings her art materials whenever he travels abroad.

Flowers

Nazlee generally uses a large canvas to depict flowers and untamed nature. Losing herself in the natural world, the artist frequently takes themes from this affluent source and plays with shades and textures on canvas. She sometimes likes to experiment with diverse vague and plain forms, and enjoys breaking and constructing them in many ways. Blossoming and budding flowers as well as dense forests are recurring features in her paintings. In many of Nazlee's works, one finds a great interchange between abstract and realistic forms.

Nazlee's very picturesque and appealing natural observation is profoundly embedded in her psyche. Her acrylic and mixed media (a few done in oil)-based paintings are created spontaneously as her skilled hands apply colours on the easels. The painter sometimes uses close-up views of branches of trees, containing patches of flowers of different colours, and then distorts the work by splashing colour pigments.

As a nature admirer, Nazlee's focus is on colour and its various facets. She also experiments with unstructured forms and vague compositions, which are scrupulously used in her works. The artist has often applied colours directly piling up thick and at times thin layers on the canvas, thereby, producing bold and dynamic images. Strong brush strokes create textural vibes in her works which have not been intentionally done. Occasionally, she deliberately creates a texture according to the paintings' distinctive requirements. She concentrates more on the application aspect and this trait creates a personal hallmark for her creations.

In her long chequered life, Nazlee has gradually transformed her style into pure impressionism (many of her paintings), where colour is the main focal point in her paintings and sometimes forms have been diluted there appropriately. In her use of materials and tints, she frequently went for the bold and natural. Her paintings generally symbolise the notion that the delights of this world have short life. The paintings with flowers by Nazlee are sometimes characterised by loose brushstrokes, simple forms and contrasting colours. She has discarded the careful shading and colour transitions of botanical illustrations in favour of a fresh look that unabashedly declares the role of artistic interpretation to be more important than careful accuracy.

Nazlee has done many miniature paintings, where she focuses on flowers and lush greenery. The rich colours and powerful presentation of these paintings are famous. Her style is recognised for its meticulous details and realistic approach. Her miniature paintings are the results of intricate attention to small details. She also used outlining (the shapes) and strong lighting contrasts in her paintings and rejected the tradition of profound space and viewpoint that have been prominent in art for centuries. Her works stay near the surface of the painting, emphasising the materials of art rather than the illusions of art. The result is a shimmering effect that has helped to keep her paintings amongst the most recognisable images in the contemporary art scene.

Boats of Bangladesh and riverine beauty

Nature has consistently served as Nazlee's primary source of inspiration. She endeavours to establish a connection with the natural world. The artist perceives nature as an inexhaustible reservoir of beauty, enigma, and anonymity. Her exceptional ability lies in capturing the philosophical dimensions of nature, its form and colour, to evoke sensitive emotions. Nazlee has depicted various types of boats found in different regions of the country, skillfully illustrating the beauty of rivers and the charm of rural landscapes. Throughout her career, she has cultivated a distinctive style, particularly focused on these themes. She predominantly favours acrylic as her medium due to its clarity and expressiveness. Acrylic allows her to convey her creativity with ease. Many of her works feature dynamic brushstrokes. She possesses the determination and talent essential for transforming her visual perceptions of the world into an emotionally resonant expression. Recently, Nazlee has demonstrated her skill in capturing the nuances of light and shadow, particularly in her representations of nature that feature serene rivers with boats and tranquil surroundings.

Upon careful examination, it becomes evident that Nazlee's artworks are invigorating, contemplative, and evokes a profound sense of joy in its audience. The majority of her pieces are vibrant and exhibit a commendable level of restraint. She possesses a keen understanding of where to draw insights from. The artist perceives nature as having its own inherent rhythm, and her primary objective is to reveal the underlying pulses of the natural world. Themes of solitude and tranquility are central to her creations. She reflects on the notion that in our solitude with nature, we become integrated into it, actively engaging with it. Additionally, she incorporates elements of illusion and emotion into her art. Her palette is soft, expressive, and imbued with a sense of nostalgia. Rather than merely depicting her observations, she strives to experience her surroundings in their authentic essence, a passion that has driven her to deeply connect with the natural environment.

Nazlee expresses the essence of nature and its enigmatic transformations through her individual perspective, experiences, and contemplative process. The clarity in her creations emerges organically, as she has developed a distinctive language for her personal expression. Her artworks serve as narratives for her innermost emotions and profound reflections on life and memory. The way she manipulates forms, lines, and delicate brushwork establishes a language that is both instinctive and deliberate. Her color palette oscillates between soft and vibrant hues, while her brushstrokes range from rough to precise, crafting a visual landscape that evokes joy and exhilaration.

Nazlee's mixed media creations exhibit a richness and sophistication that have been cultivated for many years through committed effort. Her artworks are distinctly connected to her childhood experiences and reflections, thereby highlighting her deep-seated attachment to her origins.

1971

Nazlee is a passionate artist dedicated to depicting the significant events of our esteemed Liberation War and Language Movement. She has created numerous collage-based paintings that reflect these themes. Her artwork is intricately linked to the tumultuous period surrounding the nation's birth and highlights its pivotal moments in history. Through her paintings, she conveys a spectrum of emotions, including joy, love, and suffering. Elements such as the Language Movement of 1952, the six-point and eleven-point demands, Shaheed Minar, and letters written by Freedom Fighters are incorporated into her artworks. Additionally, she employs paper cuttings from public demonstrations, processions, and political gatherings of that era. Her aim is to authentically represent the essence of that historical period in her artworks.

The emotions of pain, suffering, pleasure, and joy are intricately linked to the Liberation War. Nazlee's "Liberation War" offers the audience a glimpse of triumph and elation. She intended to highlight the bravery of the Freedom Fighters, and their commitment to their homeland. The courageous actions of these fighters, depicted symbolically and in vivid imagery alongside the Bangladeshi flag, are prominently featured in several of her pieces. Her artworks are characterised by fearless movements and profound expressions. The colours in this series are strikingly vibrant, emphasising both the subject's impact and the historical context. The dedication of individuals who sacrificed their lives, hopes, and dreams during the Liberation War is illustrated through dynamic movements. Patriotism occupies a significant position at the heart of her paintings, providing viewers with a comprehensive portrayal of the Liberation War.

Nazlee experiences a profound sense of pride whenever Bangladesh accomplishes something significant. She believes that every achievement of the nation should evoke a sense of pride among all its citizens. When Bangladesh hosted the Cricket World Cup, Nazlee felt a deep-seated pride and loyalty to her homeland, reminiscent of the emotions she associates with the Liberation War. She finds it remarkable how the performances of a few young Bangladeshi cricketers could generate such immense joy among 160 million people. In her view, the underlying reason is straightforward: it stems from a deep love for their country. These young cricketers, who have not encountered much in their lives, are the ones who brought such happiness to the nation and its people. In a similar vein, on the eve of March 25, 1971, many young mothers left the safety of their own homes to sacrifice their lives in the pursuit of freedom for their fellow citizens.

The artist drew profound inspiration from the World Cup as well as the book "Ekattor er Chithi." Daily, through various forms of media, we are reminded of the struggle for independence, and her compassion extends to the families of the young freedom fighters. However, during this World Cup, her patriotic sentiments intensified. The emotional impact of reading "Ekattor er Chithi" (Letters from 1971) was overwhelming for her.

Nazlee's artwork captures the anguish and valour of the courageous freedom fighters, with each canvas accompanied by letters from "Ekattor er Chithi." This approach allows viewers to gain a comprehensive and authentic understanding of the narratives that inspired each piece. She aims to convey the stories of the sacrifices made by these young heroes, ensuring that both current and future generations, including children, appreciate the freedom they enjoy today.

Painting doors

In the realms of literature and art, doors frequently symbolise opportunity, enigma, and transformation. They signify the transition from one phase of existence to another, whether it involves entering a new chapter in life, embarking on a fresh journey, or confronting new challenges. Doors have emerged as a persistent theme in storytelling, spanning fairy tales, myths, and modern narratives, symbolising the boundary between the familiar and the unfamiliar.

Nazlee has a particular affinity for doors, viewing them as more than simple entry points; they embody rich histories, cultural narratives, and spiritual meanings. She is particularly captivated by the doors of Makkah and Madina, which resonate deeply with her beliefs. Additionally, her artistic inspiration for depicting doors is based on the antique and medieval doors of Bengal, whose elaborate designs evoke the essence of past age. For her, a door transcends its physical form; it symbolises a passage-a metaphor for the journeys, challenges, and opportunities encountered in life.

Art has imparted to her the ability to recognize beauty in the unforeseen. An aged, corroded door, adorned with moss along its edges, might appear insignificant at first sight. However, when sunlight strikes it at the perfect angle or a nearby vine blossoms, it evolves into something remarkable. Life mirrors this experience: it encompasses periods of difficulty and challenge, yet through patience and determination, beauty reveals itself. She holds the conviction that Allah is the most adept of planners, and it is through faith and appreciation that we navigate our paths.

Nazlee traveled to Makkah in 2001, where she encountered many ornate doors. She perceives these doors as not only symbols of an ancient civilization but also as representations of this civilisation's artistic and aesthetic values. Crafted from gold, the doors left her in awe. This experience ignited her passion for depicting ancient doors and windows. Throughout her travels in various countries, she has relished the opportunity to explore numerous ancient cultures. During a visit to a Turkish museum, she particularly enjoyed observing a diverse collection of chests. Nazlee has created many paintings that emphasise ancient doors and windows adorned with locks. Her artistic approach is grounded in realism, and she occasionally incorporates locking loops directly on the canvas. Additionally, she possesses a strong interest in painting chests and trunks. She has also portrayed Makkah and Kaaba Sharif. Her canvas also features Arabic calligraphy, which has been commendably integrated with her subjects. The bold colours she employs evoke a sense of vitality, fostering an inner dialogue, stirring emotions, and prompting a quest for eternal truth and self-meaning. Her artworks signal the use of a vibrant palette ¬-- which includes colours like gold, ochre, fuchsia, deep purple, blue, and yellow -- with each colour exuding its unique essence and character.

Paintings focusing on books

Nazlee traveled to London in 2009, where she encountered a metal sculpture of an open book. This artistic piece inspired her to create paintings featuring books. Subsequently, she began to paint books of various dimensions. Her works also include depictions of historical books, the ancient Quran Sharif, and feather quill pens. To date, she has completed more than fifty paintings centered on books, incorporating elements such as spectacles, lamps, glassware, cups, ink pots, and pens inside her compositions.

Nazlee has created paintings showing various sizes of books placed on tables, occasionally incorporating roses, and at other times, inscribing verses from the Quran in calligraphic style. She has utilised both rough and handmade paper to enhance the realistic mode of her artworks. Additionally, she has applied gesso to the canvas to add thickness. Gesso serves as a robust base for paint adhesion, prevents absorption into the surface, and can be employed to attain specific textures or finishes.

Nazlee's body of work implies that she has a strong inclination towards experimenting with diverse materials. In addition to her mixed media creations, she has produced many collage-based paintings within her "book series." She finds the acrylic medium particularly appealing, as it allows her to explore its flexibility and freedom. Nazlee dedicates considerable time to the completion of each mixed-media piece. A careful examination of her works reveals a seamless flow of seemingly clear tonalities that captivate the viewer. Through realistic expression, she conveys her emotions, although the tonal variations in her pieces may shift over time.

The primary objective of the theme (book) is to enhance reading habits, expand intellectual capabilities, and creativity. She consistently perceives potential constraints within our formal education system. The collection of "book-focused paintings" highlights her emphasis on reading, and nurturing a reading habit.

Folk based artworks

Folk art in Bangladesh, much like in other nations, has emerged from the rustic and primitive ideas of its people. This has resulted in a folk art tradition that is characterised by its pure and uncomplicated vitality as well as symbolic expressions of hope and aspiration of the pastoral people. Folk art is also symbolic of the beauty inherent in rural Bangladeshi life.

Nazlee is profoundly interested in folk art, particularly the elements of rural existence. She has noted the gradual disappearance of numerous folk items over time. To emphasise the significance of these objects, such as the Haat Pakha (hand fan), Palki (palanquin), Qula (winnowing fan), Ektara, and Dhol (musical instruments), she has incorporated them into her artworks. Utilising various collages on canvas, she infuses her paintings with a vibrant quality. Her skillful depiction of these objects, sometimes enhanced with additional materials, showcases her artistic vision.

Nazlee employs the impasto technique in her folk art series, utilising a rich array of colours. She incorporates vibrant hues into her works with a unique harmony and affixes various objects to the canvas. These elements contribute to a realistic representation within her works. Nazlee consistently strives to impart an authentic essence to her paintings. The materials she selects are well aligned with the overarching theme of her artworks.

The writer is an art critic and cultural curator.