If you pause beside the walls of this city and look closely, you will notice that they are not silent. They are speaking, sometimes whispering, sometimes screaming. Their messages carry stories of resilience, grief and hope.
In Bangladesh, people have long known how to fight for their rights. Resistance here does not only happen on battlefields; it also unfolds through words, art and colours brushed across concrete. One such voice belongs to an unseen graffiti artist who created a mysterious figure now known across the city’s walls: Shubodh.
But who is Shubodh? And why is he always running? His image is paired with various phrases like “Shubodh, run away, never return”, “Shubodh, when will morning come?”, “Run away, Shubodh; love has been forgotten by people”, “There’s nothing for you in fate; run away, Shubodh”, “Shubodh is currently in jail.”
The messages feel deeply personal, yet strangely collective, like fragments of a city’s conscience written in spray paint.
Artist Pulok Zaman believes the graffiti reflects a particular political atmosphere. “During the past dictatorship, when people’s cries turned into words, the response was often detention, imprisonment, fines or attacks,” he said. “Around that time, graffiti from an unknown artist began appearing that captured the spirit of the moment.”
“The first graffiti in the Subodh series was probably first seen around 2017, with ‘HOBEKI’ written as the signature. Here, his statement is more important than the person, which is clear in the signature”, he added.
The mystery surrounding the artist only adds to the intrigue. Perhaps, late at night, someone wearing a mask crouches beside a wall, spray cans in hand, quietly translating emotions into visual form. Over time, these images have evolved into a powerful language of protest and reflection.
It appears that no one can respond to them accurately, since Shubodh himself refused to reveal his identity. If we examine the history of graffiti for a moment, we would find that such art forms were present in ancient Egypt, Greece and the Roman Empire. In the West, it is a well-known art form to illustrate socio-political inequalities.
However, in Bangladesh, Shubodh’s graffiti is fairly recent, even though creative wall writing has emerged over the past few decades. In times of resistance and political turmoil, graffiti serves as a potent tool in various regions to awaken people’s awareness of their rights and obligations.
Cartoonist Jahid Jamil sees Shubodh as a symbol of urban disillusionment. He explained, “Shubodh” is an image of our collective depression, especially for the city-dwellers who are aware but often feel powerless. It’s like a “Hungry movement” in graffiti culture. When in this favourable time so many so-called anti-fascist murals capture all the walls, it’s important to have some real pieces of artwork.”
Despite remaining anonymous, the artist has gradually shaped the city’s visual landscape. Walls that once stood blank and unnoticed now provoke conversation and reflection. Students photograph the graffiti, share them online and sometimes create their own interpretations of the character.
“Shubodh is still understandable for a very precise number of people, for others, I think they really don’t care, people in this country feed on cheap content. But in difficult times, I think Shubodh and Hobeki will be more impactful and relatable”, Jamil added.
For many young people, the graffiti has become more than just urban decoration. It is a companion of sorts, a visual diary of the city’s anxieties, struggles and quiet hopes.
Through a single running figure, the walls remind passersby that their feelings are shared. That resilience can be gentle yet powerful and that even in uncertain times, art continues to carve out spaces for reflection, empathy and possibility.
