Artist Kanak Chanpa Chakma has recently been honored with the prestigious Ekushey Padak for her remarkable contributions to art.

To commemorate this achievement, Gallery Cosmos hosted an exhibition showcasing some of her exceptional works, offering an inspiring journey into the vibrant tapestry of her artistic world.

During this occasion, UNB had the privilege of conducting an exclusive interview with Kanak Chanpa Chakma, providing insight into her life, her passion for art, and her profound influence on indigenous cultures.

UNB: You have received numerous awards at home and abroad throughout your career. This time, it’s Ekushey Padak. How does this feel?

Kanak Chanpa Chakma: It's indeed a momentous occasion for me. The Ekushey Padak is a tremendous honor, and it comes with added responsibilities and expectations.

UNB: You were inspired by your mother's designs on clothes. Was there any particular reason for choosing painting instead of weaving?  ( Her artistic roots trace back to her childhood, where her mother's vibrant designs on clothes and the art of dyeing cotton fabrics served as a wellspring of inspiration.)

Kanak Chanpa Chakma: My choice to work with painting was influenced by my early experiences of seeing my mother expertly using natural dyes sourced from turmeric, catechu, tree bark, and leaves. These were all around me. Those colors, the love, and the inspiration, maybe these early experiences played a significant role in shaping my artistic direction.

My journey into art began from drawing on the walls of my home to my homework books. As I advanced through school, my passion for art led me to realize that art was my place where dreams could be transformed into reality. Then I informed my parents that I aspired to be an artist, and there started my journey into the world of painting.

UNB: What inspired you to choose your own culture as the subject of your art?

Kanak Chanpa Chakma: Those who visit the mountains see them, the rivers, and the water in a different light. However, beneath the undeniable breathtaking beauty, there exists a profound undercurrent of suffering in our lives. I strongly believed that these concealed aspects needed to be brought to the forefront.

Simultaneously, advocating for women's rights became one of my key objectives. In many tribal communities, women bear the brunt of labor without a significant say in decision-making processes. I felt it was essential to provide them with a platform for their unspoken voices to be heard, and I chose the medium of portraiture to convey their stories. This is why women take center stage in my paintings, not merely for their beauty, but to emphasize the struggles, hardships, and the marginalized state they endure in society and the nation at large.

UNB: How many ethnic groups have you worked with so far?

Kanak Champa Chakma: Bangladesh officially recognizes 50 ethnic groups. I have worked with 15-16 of them. In addition to the hilly areas, I have been working with the plain land ethnic communities for 5-7 years, such as the Santals, Oraon, Rajbanshi, and Manipuri in the northern region.  I believe it's crucial to engage with all communities, not limited to those in hilly areas.

Moreover, I had the opportunity to collaborate with American Native Indians during my fellowship in the United States. I visited New Mexico, where I connected with numerous indigenous people, and this experience revealed the deep cultural connections we share. I spent six months working there and held an exhibition. Additionally, I have worked with tribal groups in China, India, and Burma (Myanmar). Despite the varying countries, there appears to be a profound, unspoken connection that resonates throughout my work, allowing the audience to discern this unique bond.

UNB: You ventured outside the norm and used bright colors. Can you say something about that?

Kanak Chanpa Chakma: My work is very colorful.  I drew inspiration from our diverse festivals and the exuberant ceremonies. Both people and artists require diversity and a break from monotony in life. Why should an artist confine themselves to a single, unchanging style or medium? An artist possesses a plethora of mediums, working areas, and compositions to explore. The canvas isn't the limit; I can seamlessly transition to cement, ceramics, and even jute. Currently, I am contemplating delving into the world of the knitting industry. Artists should have the freedom to create in any medium and style that resonates with them. There should be no barriers limiting their creative expression.

UNB: How many solo exhibitions have you had to date?

Kanak Chanpa Chakma: I've had the privilege of holding 26 solo exhibitions so far. My most recent solo exhibition took place at the Water Edge Gallery in 2019.

UNB: When do you plan to have another solo exhibition?

Kanak Chanpa Chakma: I haven't made any plans yet. A solo exhibition requires an artist to put a lot of thought, research, and preparation into it. I think about what more I can offer to those who appreciate my work. It should convey many messages. You can't simply draw a few pictures and hold an exhibition; it doesn't work that way. When I feel I'm ready, I will.

UNB: You have also created a platform to support indigenous children. Can you share the progress of this initiative?

Kanak Chanpa Chakma: Many children have been inspired by my journey. So far, approximately 200 children have graduated from various public and private universities. For those who are doing well but still face challenges in accessing opportunities, I established the 'Adibasi Artist Forum'. This forum aims to organize art camps, exhibitions, and take these budding artists to various places. Another critical objective is to integrate them into the mainstream art world.

I try to include some of them in Young Painters, Shilpakala, National Academy, Asian Summit, and International Shows. I request that one or two of them be included in art-related activities. If we don't provide them with space and opportunities, how will they thrive?

UNB: Do you think there is a need for government patronage or cooperation in the field of art today? If so, what kind of support is needed?

Kanak Chanpa Chakma: The language of art, especially painting, is international. Therefore, special attention is required in some areas. For example, we face difficulties when sending artwork abroad. The Shilpakala Academy cannot handle all the requests. Many artists want to personally send their work or receive invitations from different places abroad. In such cases, they have to send their artwork personally, which can be quite expensive. If the government could assist in these cases, it would benefit artists. There is also a need for subsidies for importing colors from abroad. Improvement in these areas is necessary. If the government provides support, the field of art will expand and improve significantly.

UNB: Do you have any words for the UNB audience?

Kanak Chanpa Chakma: UNB has a broad scope of work, and its coverage of art-related news is instrumental in promoting and preserving our rich cultural heritage. This support is invaluable for artists, and I believe that UNB will continue to play a pivotal role in supporting artists and the arts in the future. My hope is that UNB will continue to be a source of mental growth and inspiration for artists.

UNB: On behalf of UNB, thank you for your time.

Kanak Chanpa Chakma: Thank you too