Artists today are much more speculative than ever before, especially the young ones. The language of expression, the language of modern art has also altered somewhat due to the simple fact that nowadays it has become so much easier to learn from, incorporate and see other forms expressions of art, be it national or international. The respect and deference received by the veteran and established artists here have also reached new heights. A strain of abstract painters and an affinity towards the abstract has always flown strongly in Bangladesh, and we can witness that in the much appreciated works of Mohammad Kibria. He and a few other contemporary artists have always tried to grasp the abstract and formless. The form, that strain of abstract style has taken leads to the artwork of M. M. Maizuddin. It’s not that Maiz completely disregards the physical world as it exists, but he has taken a leap out of the physical into the abstract world. Even then forms and shapes of vines or figures still peer out at us. His abstract forms and figures and their repetition lends a mystical manifestation to his paintings. A strong desire resides within him to lose himself and then to find himself again. There is certain bliss of seeing the unseen or the novel in Maiz’s work, something similar to the one felt seeing the work of Juan Miro. Geometric shapes also occupy the space of his paintings and there is a light that seems to emanate from within them. A cosmic dimension exists in them and it is almost as if the ‘stars’ seem to give off light. The light also takes its own shape, one hidden behind another, playing with the other forms.
There is a central light in some of his paintings, emanating, and that seems to be his primary motif in them. There is change in contrast in the light from somewhat sharp to a slightly softer hue. The play between light and shade as well as the presence of life finds expression through his brush strokes. Sometimes it may seem that some unknown life forms manifest themselves in his artwork and sometimes they take a surrealistic turn.
But other than the flood of colours and the play of light, Maiz has also worked on another dimension where there is a ‘coagulation’ of colours forming a shape of its own. There are two such paintings in this exhibition where it seems that the colours have been piled and a definite journey of colours has been traced reflecting a journey of life.

Moinuddin Khaled