When Reshma Begum was rescued from the wreckage of the collapsed textiles factory in Dhaka, Bangladesh, she looked surprisingly colourful. I made this painting because I wanted to be reminded of her survival against the odds, eating biscuits from the lunch boxes of the less fortunate victims and drinking rainwater for 2 weeks before she was found. There is sometimes a kind of narrative with the paintings but it is not to be taken too literally. A lot of the emphasis here is on hard edge against soft broken areas, intense colour, things breaking through the surface, holding the surface with the drawing and positioning. I used these devices to try and express the uncertainty of Reshma’s plight and her triumph against the odds.
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When Reshma Begum was rescued from the wreckage of the collapsed textiles factory in Dhaka, Bangladesh, she looked surprisingly colourful. I made this painting because I wanted to be reminded of her survival against the odds, eating biscuits from the lunch boxes of the less fortunate victims and drinking rainwater for 2 weeks before she was found. There is sometimes a kind of narrative with the paintings but it is not to be taken too literally. A lot of the emphasis here is on hard edge against soft broken areas, intense colour, things breaking through the surface, holding the surface with the drawing and positioning. I used these devices to try and express the uncertainty of Reshma’s plight and her triumph against the odds.
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Reshma’s Return
£650
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