Page 95 - Winter Issue

Your work has a strong focus on the relationship between color and form. How do you approach this
relationship in each piece, and what effect are you hoping it has on viewers?
Color is the foundation of my work. Each piece begins with selecting a palette. I combine colors using threads. I overlay
colors to create new colors, much like blending paints to create entirely new shades. I experiment with different
sequences and arrangements to develop unique color combinations, exploring endless possibilities until the piece takes
shape. It is very much a self-lead process, which leads to a lot of experimentation. I carefully balance shapes and
symmetry with color gradients, I aim to create a visual experience that feels both immersive and harmonious.
Could you tell us about a workshop you’ve led that was particularly impactful?
At the Vintage Festival, I introduced participants of all ages and backgrounds to winding as a textile technique. It was
inspiring to watch them quickly connect with the process, engaging in hands-on exploration while discovering its
calming, meditative qualities. Seeing the positive response from a diverse group reinforced my commitment to making
traditional textile techniques accessible and relevant today. The experience strengthened my belief that these practices
are not only worth preserving but have the potential to inspire creative growth and new perspectives in modern textile
art.
How do digital explorations influence your winding and weaving process?
Digital tools are essential in helping me visualize color palettes and compositions before I begin the physical work. I use
programs to experiment with color combinations, gradients, and geometric patterns, refining my ideas and streamlining
the creative process. This digital pre-planning provides a structured blueprint that guides my work, which I then adapt
organically during the winding process.
What are some elements of traditional Bangladeshi craft that you feel are especially meaningful or
relevant today? How do you incorporate them into your art?
Traditional Bangladeshi crafts, such as weaving and block printing, carry a rich history and cultural symbolism. These
crafts emphasise patience, precision, and an eye for detail, all of which resonate deeply with my practice. I incorporate
these values into my work, focusing on intricate details and the subtle interplay of colour and form. By doing so, I aim to
create pieces that are contemporary yet reflective of a longstanding heritage of textile craftsmanship.

How do you envision winding evolving in contemporary
textile arts, and what impact do you hope to have on this
evolution?
I believe winding has incredible potential as an expressive medium
beyond its functional role in weaving preparation. By showcasing it
as an art form, I hope to elevate it as a standalone practice in
contemporary textile arts. I want to use winding to create abstract
installations, three-dimensional pieces, and larger-scale artworks. I
hope to inspire others to explore this technique as a form of
expression, helping to establish it as a recognized medium within
the art world.
What stories from the past or your cultural heritage do you
feel are most essential to pass down through your art?
For me, winding is more than a design process that I use in my
practice. It is a way to celebrate and showcase Bengali culture
through color, pattern, and texture. The technique allows me to
explore elements of my heritage, taking inspiration from colors and
motifs rooted in cultural stories and personal experiences. I hope
future generations can connect with these narratives by witnessing
how tradition and contemporary art intertwine to create something
new yet deeply rooted in heritage. Ultimately, I hope my work
inspires others to explore and share their own cultural stories.

Mango shower - Hand Dyed Silk Yarn, 44x32cm, 2024

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