Where art resides: The house of sculptor Alak Roy

The notion that "home is where the heart is" may seem cliché, but a visit to sculptor Alak Roy's residence would undoubtedly convince anyone that home is where art resides.

The house, shared by Roy and his partner Niloofer Chaman, brims with countless art pieces accumulated over several decades. However, what truly sets this house apart is the enchanting tales that have transformed it into a work of art in itself.

It is a dwelling where an artist unfurls their deepest desires through mesmerising murals and sculptures. The architecture seamlessly merges with ongoing artistic endeavours, capturing a myriad of poignant memories. The Business Standard paid a visit to the house of the artist couple and came back enchanted.

Nestled in the peaceful retreat of Hathajari, an upazila in Chattogram district, lies a hidden abode that can only be discovered with the help of Google Maps. The surroundings of this house blend seamlessly with any ordinary neighbourhood, concealing its presence.

Yet, amidst the unassuming backdrop, a remarkable sight awaits—a fortress-like structure adorned with vibrant murals, transforming its outer shell into a living canvas. Parts of the building are adorned with creeping plants, adding an extra layer of natural beauty. As you approach the front door, you'll be greeted by the inscription of three names—Alak, Niloo, and Aroni—inviting you into this enchanting haven.

As we stepped inside the house, a faint humming sound reached our ears, initially leaving me perplexed. It became apparent that those were coming from the swaying bamboo plants on the bank of the ponds facing the house. Despite the scorching heat of the summer day, the presence of lush trees and beautiful bamboo shrubs created a serene atmosphere in the small garden downstairs.

Alak Roy, the artist we were visiting, provided an introduction to how it all began. "Back in 1995, I purchased this plot of land, flanked by ponds on both sides. I felt it was the perfect location, offering a sense of isolation that I sought. However, my wife had concerns about the security of the place, as few people resided here and only paddy fields were visible," he recounted.

Alak Roy, now a Professor at the Institute of Fine Arts in Chattogram, was a disciple of the renowned K Subramanium and a graduate of Baroda University in India. He aimed to incorporate his mural art as an integral part of the house's architecture. Throughout the premises, one could observe a plethora of sculptures predominantly crafted from clay and various other materials.

For any keen-eyed visitor, it would be apparent that among these sculptures, a recurring motif is fingers. Alak Roy explained that fingers symbolise not only our ability to touch and feel the objects around us but also our capacity for expression. Through his artwork, he sought to reveal his individual process of perceiving the world in all its aspects.

During our extensive conversations with the artists, we came to realise that this house remains unfinished, much like any artistic journey—it's a work in progress. Despite doubts from visitors during its construction, who claimed it wouldn't be suitable for renting, Alak smiled at their scepticism.

This three-story building contains only three rooms intended for human habitation, with the remainder dedicated to art and captivating the always-welcome visitors. Alak proudly showcases his house to a diverse range of individuals, from students seeking residencies to foreign buyers with a keen interest in the city's RMG exports. Through this house, he has partially fulfilled his long-held desire to create a sculpture garden.

However, one may wonder why there aren't more individuals pursuing sculpture as their chosen fine art. When asked, Alak explains," the fear of an unstable profession discourages many students from venturing into this field. Additionally, the perception that sculptors primarily create human figures, which conflicts with religious restrictions, further dissuades people from practising this form of art."

Even within his current neighbourhood, some residents express discontent with his artistic endeavours. They refuse to sell him any more land, he reveals. Alak, who has travelled extensively to various countries for his sculpting projects, laments the absence of a cultural environment where artists, architects, and engineers collaborate to construct monumental creations.

Almost everything within the house was accomplished single-handedly by Alak, emphasising the omnipresence of storytelling. Downstairs, a sculpture depicting ears, waves, and fishes symbolising the legendary tales of the river Karnaphuli catches the eye, while on the terrace, sculptures of Tagore and Lalan face each other.
Countless faces portraying a plethora of human expressions are scattered throughout, each representing an emblematic aspect of humanity. Alak explains that he initially crafted faces with diverse expressions but has since adopted a more simplistic and uniform approach. He also guides us to the downstairs area designed for residency students, where furniture has been purposefully constructed to offer secure storage for their belongings.

Alak also showed us the glazing room and some of his beloved possessions and unfinished works, while telling us stories of his early years in the 1960s when the worldwide protest against tyranny shaped the young minds of the past to protest against the dictators with the help of art and crafts. "As the first generation of artists who experienced the birth of this nation I am very much proud of the pedigree I have received from my alma mater," he states.
 As Alak temporarily took leave to supervise the workers involved in the renovation and cleaning of the space, we were guided on a tour inside the house by Niloofer Chaman. Niloofer, an accomplished artist and art teacher at William Carrey Institute in Chattogram, is renowned for her unique approach to artistic expression.

Rather than conforming to established art languages used by contemporary artists, she employs her own form of allegorical expressionism, preferring indirect statements. This was evident in her studio on the ground floor, where numerous artworks showcased her distinctive style.

Niloofer's storytelling prowess instantly captivated us as she shared how a simple piece of wood inspired her to transform it into an artwork that narrates the story of its endured wear and tear over time. From humble natural objects like leaves to pieces of metal, even shoes, she transformed them into a language of protest within her artistic atelier.

As we ascended to the upper floors, it would be an understatement to say that we were mesmerised. The sheer volume of art pieces, books, and mementos collected from around the world was overwhelming.

Niloofer, a devoted keeper of these treasures, cherished each and every piece, and her palpable enthusiasm as she shared the stories behind them added to the experience. She proudly displayed the curriculums she had developed, explaining how she aimed to change children's exposure to art and their perception for the better. As an example, she showcased her daughter's early drawings of insects, which were all imagined by the young artist herself.

Additionally, her daughter, Aroni Roy, who had recently graduated in architecture from Denmark, delighted us with a miniature 3D home she had constructed using a 3D printer. Aroni remarked, "This was a small gift to her father for creating this beautiful abode."

The house was more than just a dwelling; it was a sanctuary of human emotions, where art and humanity intertwined, giving rise to countless reasons for joy and everlasting happiness.

As I bid farewell, Niloofer presented me with a sprig of bleeding heart, joyfully blooming at their doorstep. All I could offer in return was a smile, expressing my gratitude for her thorough explanations.

Amidst the myriad of memories, what lingered vividly in my mind was the three-dimensional house crafted by Aroni to impress his father. It truly exemplifies how the younger generation will utilise technology to express their artistic inclinations. Perhaps, on my next visit to the house, which is undoubtedly inevitable, I may witness three-dimensional sculptures finding their rightful place alongside the handcrafted ones. Who can tell what the future holds?