For Sumon Barman, wood is never just wood. It carries rivers, memories and generations. His latest exhibition, Inflow, transforms these impressions into sculptures shaped by water, humanity and heritage.
Opened on 14 August at Kalakendra in Lalmatia, Dhaka, the exhibition features sculptures and installations inspired by river waves, Old Dhaka’s crowded streets and Barman’s roots in a fishing family. It will remain on display until the end of August.
A former University of Dhaka Fine Arts student, Barman has long used water as both image and idea. His previous exhibition, Joloj, also drew on the constant movement of waves.
“I make art inspired by river waves, so I gave it the name Inflow. Last time, it was named Joloj, which was also inspired by waves,” he said.
Yet rivers are not his only inspiration. During his training, Barman encountered the idea that understanding the human body can help an artist understand the world around them. The human figure has since become a way for him to observe society.
Old Dhaka offers endless material. Its diverse people, gestures and everyday lives often enter his work subconsciously.
“I try to take inspiration from my surroundings. Probably they attract me subconsciously when I’m not even paying attention,” he said.
His family history is another recurring thread. Barman comes from generations of fishermen who caught and sold fish for a living.
“I always keep a family representation in my art,” he said.
Wood remains his main material. Though he sometimes works with metal, years of experimentation have created a contemplative relationship with wood. He describes entering a meditative state while developing his designs.
Barman also values genuine engagement over numbers. “Even if two people are truly appreciating you and are into this art, they’re your best audience,” he said.
He is also aware of the challenges young sculptors face, particularly finding studios after completing their training. Barman worked in senior artists’ studios before securing his own, an opportunity many others never receive.
Through Inflow, he hopes viewers recognise the labour, discipline and dedication behind sculpture. Although audiences have responded positively, he wonders whether everyone understands his ideas.
“I really want them to think about it more,” he said.
For Barman, no single interpretation is necessary. Anyone inspired or even slightly affected by his work becomes part of his audience. Like the rivers that inspire him, his sculptures keep moving, gathering new meanings through each viewer’s memories and experiences.
