With two Japanese words I would prefer to describe my performance: ‘Wabisabi’ and ‘Kintsukuroi’. The former one refers to a way of living that focuses on finding beauty within the imperfections of life and peacefully accepting the natural cycle of growth and decay. And the latter word is the art of repairing pottery with gold or silver, joining the pieces and understanding that the piece is more beautiful for having been broken.
Getting indulged for a month into Japanese culture, tradition and their immense natural humbleness towards life and art, somehow, helped me in 2016 to recover from that nightmarish evening of July 1-at-Holey Artisan Bakery in Dhaka.
Art makes me feel alive. So I need to find for myself a place to free my inner inhibition, an environment that would allow me to break any rule-at-any point.
It is to be mentioned that on July 1, 2016 seven Japanese along with three Bangladeshis, one Indian and nine Italians were brutally killed in my own land. I felt terribly guilty as an artist, as a Bangladeshi. It was a tribute to them, and a performance for me to understand and realize the freedom of spirit — to touch our souls.
This performance was an improvisation and self-modulation as well. We gradually moved towards the visitors and started touching them. Gradually the energy suffused among all who were witnessing the ‘Intimacy Conflict’. I tried to make people react to my act of love to bring them out from their inner confinement.
