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About Me

Painting is just another way of keeping a diary

 Through my work, I engage with Eastern and Western cultural expressions, as a woman, as an artist and as an immigrant.  My practice is shaped through human rights, feminist politics, processes of decolonisation. It is also shaped by my current home, its landscapes and the proximity to sea. The work I produce is in parallel to my lived experience of trauma in the asylum process, homelessness, and as a survivor of gender based violence. My work negotiates barriers of language whilst staging my “otherness”, expressed through performance using my body, gestural mark making, painting and voice.
In Bangladesh I studied Fine Art at Dhaka University (1998) and have a Master’s degree from Visva-Bharati University in West Bengal India (2003). Despite the extreme personal barriers I have  faced, I strive to develop and amplify my practice, my networks and connections.

Since migrating to the UK, my work has been championed and showcased at Creative Folkestone, Conversation Over Borders, Turner Contemporary, Performance Space, Tempting Failure London Biennial of International Performance Art, Counterpoints Arts, Refugee Week, Artsadmin and WIP project.


No country for women ,2017 . Weak festival at Performance space,Folkestone

No country for women 2017


My work is dedicated, my Mom and Bangladeshi feminist writer Taslima Nasrin.

I would like to work on a project based on the story of my lived experiences from a feminist perspective, both in Bangladesh and  in the UK. I have a background in fine arts and I would like to bring this background together with my life story into a performance. I have started developing ideas for the work in the past year and have tried to get some feedback form friends and colleagues but barely having the resources to support my basic life needs in the UK I am left with little to no time to focus on the project. The material I am using for this project includes evidence and stories from my childhood and later on the sufferings of my married life. When I was six, I had an accident which resulted in an injury from which I have suffered since then both physically and mentally because of the way people treated me in my country. Being regarded as a disfigured woman, I was ignored in the society and later on my husband's family neglected my basic rights and expected me to never stand up to their brutal behaviour. The experience of living with a visible injury and sharing a life with an abusive husband who openly cheated on me and took advantage of my presumed weakness have had devastating mental effects on me. 

The process of making this performance so far has been a way for me to communicate the distress of the traditional life style of my country with others and through this communication find a way to move forward with my art and career. This is not only my story and my injury but a story of life of all the women in Bangladesh. I have witnessed this unfairness towards other women in my family, my mother, sister, nieces and friends. To grasp a better picture of the situation of women in Bangladesh I have been researching the works of Bangladeshi writers who have focused on women rights and I am specifically interested in the writings of Taslima Nasrin, a Bangladeshi writer in exile, and her book No Country for Women as one of the resources for my project.

I am hoping to bring together these stories of sufferings into a performance that uses the body, my body, as its main source of storytelling. I would also like to explore the possibilities of a durational performance and how it can reflect the lived endurance I have experienced and witnessed from women in my country. Some of the visual and conceptual ideas I would like to explore are to have performers manipulate my body and clothes in ways that hint on pain and suffering,some examples are  cutting my hair and eventually shaving off my head and acupuncturing my whole body.

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