গঙ্গাবুড়ি / Gangaburi: A River Heritage Project 2023-24

Since 2015, artist Ahmed Rasel has been documenting Dhaka’s collective memories with its waterbodies, using metaphors and symbols to explore people’s lives, struggles, and relationships with water. His project reflects on the city’s shifting landscape, where wetlands, ponds, and canals have diminished by nearly 40% due to encroachment and rapid urbanization—causing pollution, waterlogging, and health crises.

The work centers on the Buriganga River (Amin Bazar to Hasnabad), tracing its cultural and historical ties with Dhaka. From landing piers, makeshift boat houses, and paddle steamers to colonial remnants, Rasel captures the river’s layered stories of survival and change. The metaphor of a broken aquarium evokes Dhaka’s transition from a water-rich past to a nostalgic struggle for its aquatic heritage, offering a poetic reflection on memory, resilience, and loss.

শীতলক্ষ্যার সাতকাহন / Shitalakshyar Shatkahon," translating to the grand affair of the Shitalakshya River, delves into the mythological resonance of the river often identified with the Buriganga. The artist's vision unfolds through two distinct depictions of the Buriganga, symbolizing its evolution over time. One portrays a young female figure representing the earlier state of the river, while the other embodies an aged female figure symbolizing the current, almost lifeless state of the river.

Nature takes center stage in this visual narrative, with delicate flowers forming flowing hair and a diverse array of animals crafting the body of the figures. The artist employs Bangladeshi organza silk fabric as the drawing base.

On the Firoza panel, the artist captures the early state of the river, portraying it as a young, youthful woman teeming with life. Elements of the river and its once-abundant birdlife are intricately woven into the composition, emphasizing the extinction that has occurred over time.

The Magenta organza panel depicts the current state of the river – the aging BuriGanga. Despite its present desolation, the environment surrounding it continues to thrive, showcasing nature's resilience.

Mughal motifs and characters are seamlessly incorporated into the artwork, intertwining the history of the Old Ganges with the rich heritage of the Mughal dynasty and culture. Contrasting colors in the background illustrate the dynamic environment of the location, while Karchhob embroidery, a traditional art form in Dhaka, adds a distinctive layer to the painting.

These two artworks serve as a poignant reflection on the golden era of this region, suggesting the potential for a rejuvenated future for the river, and encouraging the hope of reclaiming its former vitality. " শীতলক্ষ্যার সাতকাহন / Shitalakshyar Shatkahon " stands as a visual chronicle, urging viewers to contemplate the cyclical nature of life and the possibility of renewal in the face of adversity.

Credits: yousuf - karchupi karigor
Size: 120X45 inches (each panel) 2 pcs
Medium: Acryamine color and acrylic color on silk organza

Inspired by the integral role bamboo plays along the riverbanks, the pavilion draws from traditional bamboo crafts such as 'Kaura' and 'Paicha’. Kaura represents the art of traditional bamboo weaving, while ‘Paicha’ captures the essence of a random weaving pattern, resembling the buckets used along the river for carrying goods.

Special thanks to: Britto Arts Trust, Kaliganga Art Institute, Mohammad Monsur Mia, Mohammad Alam Mia, Ataur Rahman Ashik, Brahman Sujon, Brahmon Pashan Maloti Rani, and Lata Begum.
Credits: Special thanks to: Britto Arts Trust, Kaliganga Art Institute
Team: Mohammad Monsur Mia, Mohammad Alam Mia, Ataur Rahman Ashik Brahman, Sujon Brahman, Pashan Maloti Rani, Lata Begum

ইটাগঙ্গা / Itaganga reflects on the fragile relationship between cities and the rivers that once shaped them, focusing on the Buriganga. The artist was struck by the suffocating presence of brick structures along its banks, symbolizing how “civilization” chokes the river’s spirit.

Using boat-shaped bricks—both cradling and constricting water—he captures the tension between urban growth and natural flow. The city built atop these bricks embodies both progress and domination, while yearning to release the river from its brick confines.

This work stands as a poetic call to reconsider how development encroaches on rivers, leaving space for viewers to form their own emotional response.

Credits: Copyrighting-Alexandra Münzner
Team: Matin, Afzal
Medium: Bricks
Size: 6 feet x 3 feet 3 inch

Along the Buriganga River, the artist reimagines construction debris and plastic waste not as decay, but as raw material for renewal. Salvaged bricks from demolished sites and single-use plastics from landfills are reassembled into modular lines that intertwine like the metamorphosis of a caterpillar into a butterfly.

Metal rods provide structure while symbolizing legs, and phalange-like extensions suggest a vibrant future emerging from the ruins. The work reflects on the cycle of construction and deconstruction, envisioning a city reborn from its rubble into harmony and growth.

Medium: Brick and single-use plastic
Credits: Sandwich Dhaka — Mojahid Musa, Hosne Mobarak Munna, Arbhi Kazi, Sabiha Haque

এপার-ওপার / Epar-Opar," translating to the mystical alternate of extremes, unfolds as a narrative that transcends the present into the afterlife, stretching from one bank of the river to the other. It exists in the duality of emotions, physical space, and time.

In the winter of 2010, the tranquil ambiance of Sowarighat became the artist’s refuge from the challenges of student life. Amidst this serenity, a mysterious encounter unfolded. A voice inquired about a lost daughter, and the watery sparkle in the eyes of the seeker left a lasting impression. His relentless search for the missing girl continued, questioning every stranger he encountered.

As the person disappeared from his sight, the lingering mystery persisted. Beyond Eid, the man tirelessly traverses the riverbank, engrossed in the quest for his lost daughter. The narrative unfolds through characters and events, capturing the essence of reality, while the unexplored dimensions remain a realm of imagination manifested in my drawings and narrative. "Epar-Opar" becomes a tale that stretches beyond borders, exploring the intricate interplay of the seen and the unseen.

Credits: Story development: Masudul Haque; Soundscape: Suhas Nahian; Writer family and the man from the riverbank; Molla Sagor’s Film of the song "Gangaburi" by Kafil Ahmed and Brihatta Team

Size: Panel painting 22x28in (6 pcs); Handmade book 11x14in; Folded graphic novel book 14in with 8ft long

Medium: Pen and ink with watercolor on handmade paper