Obscurity-revealation is the dialectic of visual art. While a frontal depiction of an object may clarify, educate, and inform, it is obscurity or mere suggestiveness that brings in an interest in art. Evolution has endowed our brain to like a visual game, similar to a jigsaw-puzzle, and to feel rewarded with a ‘aha’ type discovery when a obscured image is interpreted after a visual search and chase. That is why suggestiveness of a tree shrouded in fog appears more interesting than the full frontal botanical depiction of a tree. A veiled woman’s face creates novel and interesting challenge for an artist, particularly a female artist.

Vision in art presents tons of doors and windows to perceive an artwork. Certainly, aesthetic images are beyond language. Thereby such images connect the viewers with the visions glittering—as if soul speaking to thousands eyes. Here, language becomes a mere body. Such visions portrayed in the artworks of the contemporary visual art maestro Nazia Andaleeb Preema have the potential to scream-and whisper which make the art-connoisseurs wonder: images have lives, souls, and visions – as if complete living beings. Nazia Andaleeb Preema’s visions on the series entitled ‘Staring Women’, ‘Concept of Modern Radha’, ‘Cosmopolitan Women’ and ‘Storytelling’ pave a carnival art ground. Her lyrical tones united with multi-layer narratives give birth to never-dead-ideas, juxtaposed with conflicting surreal imageries, rooted in the context of South Asian subcontinent leading to universal appeal. Thus, her visions speak, “Vini Vidi Vici”. Preema’s creative endeavors produce tactile effects with intellectual visions.

The series entitled ‘Staring Women’ focus on feminist issues marked by male establishments and domination. Here, Preema’s paintings talk of self-reflexive visions on the categorization of women based on sexuality. These works, through vivid symbolism, paint untold stories of women under the veil in Bangladeshi socio-political context. Interestingly, Preema picks up as key-symbol: the eyes, and puts together metaphoric tools through her aesthetic sensible use of colors that emphasize the desires and dreams that women vision in Bangladesh.

Hindu mythological representation of the character Radha is quite picturesque to all because of the visual artworks — statues, TV series and films in the Indian subcontinent. In most media, Radha is perceived in saree holding a huge water pot (locally called kolshi) with Lord Krishna in several paintings and statues where Radha stands as a symbol of love and sacrifice: the archetype categorization of women. Visual artist Nazia Andaleeb Preema deconstructs this mythical allusion and interestingly set the character free in the contemporary period in her series entitled ‘Concept of Modern Radha’.

The word ‘Cosmopolitan’ have several connotations-AMong which the most famous young women’s magazine in the US rings a bell which is also known as “bible for fun” where fearless females reaches “18 million readers a month”. On the other hand, for drink-lovers, the word also refers to a “frothy bright pink color vodka cocktail” that includes fresh lime and cranberry juice. However, for academics, this buzz word promotes multi-culturalism where hierarchy and racism get no chair under the umbrella of shared humanitarian values. Nazia Andaleeb Preema’s arts in the series entitled ‘Cosmopolitan Women’ are structurally and stylistically cosmopolitan indeed because of the mixed media Preema uses to portray the diversity of culture in women around the world.

It makes many wonder — what made Preema’s storytelling so chaotically harmoniously multi-narrative. Postmodern pastiche imageries where various disciplines like science and arts are juxtaposed symbolically in the series entitled ‘Storytelling’. Nazia Andaleeb Preema ends this chapter with such a vision that has the might to make the viewers visionary. Through this series Preema’s artworks act against binary views of storytelling to promote unbiased attitude in narration. The paintings, whether on mixed media on canvas or oil on canvas, reflect multiple visions in colors, moods, tones, themes,-at-times paradoxical too. Even ‘Science and Women’ captures an orbit-like scenario establishing human and the earth as equal parts of each other, eco-critically speaking. Thus, Preema’s ventures starting from eyes journey beyond the earth, having a global vision based on the transformation the society has undergone.