At first glance, the canvas print photographs in Khaled Hasan’s exhibition may look like paintings. Indeed, the photographer’s brilliant technical manipulation of camera has resulted in some sensitive art expositions.
Hasan has showcased 29 photographs in his 15th solo exhibition, all of which relate to his inner self and emotions. Titled as ‘Existence…The End’ the photographs are on display at the gallery of National Art Plaza of Bangladesh Shilpakala Academy.
According to Hasan, the displayed photographs deserve to be called documentation of the self. The exhibition is, in every sense of the word, personal, and, none of the displayed work is titled.
The message that all the photographs, taken together, seem to suggest is the photographer’s proclivity towards candid blooming of his life, not restrained by social or religious barriers.
To do justice to the elusive quality of self and its emotions, Khaled has mostly used what is technically termed ‘out-of-focus’, ‘blurred’, ‘slow-shutter’, ‘long-exposure’ and ‘multiple exposure’ shots. By that way, he has unveiled the living of his life in an authentic manner.
Several of the photographs depict a man in a forlorn, desiccated state. In one photograph, Hasan has captured a facade of his face on mirror with a blurry effect.
Hasan also reveals a fascination with photographing shadows. There are three works that capture shadows of the artist alone or in company. In one such work, he has taken shadows of two figures intertwined in a manner that may be interpreted in various ways.
There is another group of photographs that show Hasan’s adhesion to and experiment with bodily parts like, part of face, aspiring fingers, telling eyes so on and so forth.
There is another group of work that depicts the artist sharing intimate moments with a female counterpart. ‘An integral part of a male is a female and vice versa’, states Hasan.
The exhibition was inaugurated on April 12 and will end today.
-With New Age input
