I almost forgot about my blog lately. I got busy. Busy with many things. Especially I got busy with them. They run around on a roof in this city. Those who wants to have them for dinner, this is for you – ‘Duck You’. (And go duck yourselves)
Sarker
Pathshala, 2014
When one meets Sarker Protick, he immediately strikes one as a musician. His fingers are slender from having plucked guitar strings for too long, while his eyes are intent and dreamy at the same time. Interestingly though, one wouldn’t be too far off; not so long ago, Protick was indeed part of a band.
“Photography wasn’t a conscious decision on my part. I liked taking pictures and got admitted to Pathshala. For the first two years, I had no idea what I was doing there, except that I really enjoyed taking pictures,” confessed Protick. “In celebration of 12 years of Pathshala, a book was published comprising of some of the more meaningful works from photographers who have emerged from Pathshala – and my work was selected. It was then that I realised that if there was something I liked doing, and I was doing well at it – I might as well keep on doing it.”
‘What Remains’ by Sarker Protick
Protick’s work carries an endearingly original voice. Simple, minimalistic, poignantly personal – his philosophy of less is more is well defined in his photographs. In the story of his grandparents, John and Prova – titled ‘What Remains’ and exhibiting in Chobi Mela VII – Protick relays the sense of waiting, of a life spent between two people and the rekindling of a bond. He admits how he once didn’t enjoy his grandparents company because he didn’t know what to talk about; but as he began photographing them to break the silence, he began rediscovering relationships beyond of what is evident. His grandmother passed away during the project, and Protick began to visit his grandfather more frequently so he had someone to talk to – and now, what began as a simple process of recognition has evolved to an eternity of belonging.
“I often feel artists have a label of being vagabond, particularly in the context of Bangladesh. A responsible institution perhaps guides the artist, and makes him or her realise that being professional and organised is just as much of an art as what is being produced,” shares Protick. “I feel responsible towards the medium, in terms of redefining it and exploring it – but photography for me has always been a personal calling. Many of the best photographers in the world are self-taught, but I’m glad something like Pathshala exists for those who can do better and learn much more than just technicalities.”
Protick essentially feels the best work comes from within the heart. It is important to be hard-working and smart, but it’s more important to have talent, to develop something original that comes from one’s guts. He has lived by it till now and bravely admits he hasn’t regretted it, yet.
by Sabhanaz Rashid Diya
There were 28 students when we started, it was September 2009.
After three years only 8 have survived. It was not easy. Almost everyone in the class had to earn a living, they were not only students. But I tried to be adamant,
” If you don’t come with your assignment you are not doing the class! ”
Photo: Taposh Paul
There were lot of ego, fight, jealousy but we also had beautiful camaraderie. Over the period the weak one became the strongest, the strongest one became average. In between i have also grown up with them.
We became friends.
Munem Wasif
Diary, 2012
“Of River And Lost Lands” Published in La Lettre De La Photographie
The price Mark Grosset was won in the category by visual artist: Marie Ormières of EFET (Paris) for his series “Holy Days” and the documentary category by Sarker Naman Protick of Pathshala South Asian Media Academy (Dhaka, Bangladesh) for his work “Of River And Lost Lands“, his blog: https://sarkerprotick.wordpress.com/.Also Exhibited in the Les Promenades Photographiques 2012
Photographic Walks with support from Alliance Loire and FRAM , PICTO and Filmolux attribute the Price Mark Grosset two students in the category of photojournalism and visual category for the sixth consecutive year.
The 2012 edition will spend teaching and finest educational projects of the best schools worldwide.
Exhibitions are held in the stables of the Quartier Rochambeau, we want this place dedicated to “Work in Progress” real laboratory research and comparison of young photography.
Acclaimed by youth, with participation from 2007 to Mark Grosset price of more than 20 international photography schools and teachers who have already participated in early editions of the price.
Today 5:00 PM at Pathshala. we will present our final show. So, these are for our friends who are not in Dhaka/outside of the country, but will be with us in spirit. For you, here is a glance of what we are up to these days, works in progress. We are the 10th Batch of Pathshala.
Bangladeshi photography is always recognized for its very known social documentary. Previously, the content was mostly about social issues we suffer with, starting from poverty to violence or climate issues. But things have been shifted, a new branch of photographers entered to the scene and started to deal with other issues, which are sometimes more urban, personal and complex. They are not only exploring untouched contents, but also different and own visual language. An own way of telling the story. The works are in progress and this presentation contains 8 bodies of works which are trying to get a space in our documentary practice.
Tanzim Wahab
Drik presenting Contemporary Photography of Bangladesh at the Dhaka Art Summit 2012
Curated By Munem Wasif and ASM Reazaur Rahman
12-15 April at Bangladesh Shilpakola Academy.
Kauser, Protick, Rasel, Tushik
Photograph – Reja Sahriar Rahman
Sarker Protick 