Moharajer Chair

Anisuzzaman Faroque

Anisuzzaman Faroque is an emerging visual artist who mastered himself as sculptor. His representational and sketchy portrait modeling with clay is one of his outstanding skills. In his art practice line drawing plays a vital role which he picks from the urban life style, and which he incorporates with his creation of postmodern sculptures. Anisuzzaman Faroque has participated in many renowned exhibitions in the country, they are: National Art Exhibition 2015, Asian Art Biennale 2016, National Sculpture exhibition, 2018, Asian Art Biennale 2018, won ‘Experimental Best Award’ in Annual Art Exhibition at Faculty of Fine art, University of Dhaka, and ‘Sculpture Best Award’ in 21st Young Artists Art Exhibition 2018. Rubel has joined Back ART Foundation in Dhaka, as a member in 2016, and has participated in it‘s all-public art projects since then. He was born Maheshkhali, Cox’s Bazar in Bangladesh in 1993.

“While thinking about city-centric sculptures for ‘EK KODOM’, I felt the urge to create new work. Because I had already created art based on thoughts about Dhaka or city.”

In the bronze sculptures, a hard metal is presented in a very sensitive manner. Mostly the dimensions and in some cases naming of sculptures will give the viewer a sense of familiarity to allow their thoughts to flow. To help the process, the sculptor created these sculptures following a liberal line of thinking.


Application of a linear process, use of flat surface and due the dimensions – these sculptures take on different moods at different situations. The sculptor tried to create a synergy between the location of the show, city-centric art forms and the materials for the sculptures – where a lot of thought has been put into exploring the possibilities for sculptures based on a city without focusing on any specific idea. A lot of elements of Dhaka have been incorporated here. Visible materials, mood of the sculptures and viewer’s need to see art – a combination of these three elements can give rise to a multitude of imaginary wishes in the viewer’s mind. However, the sculptor is unable to give any specific idea about his work, just as the city to its inbound newcomers.