The
Dreamer
Mariano Del Rosario
New York
Dreamer
Mariano Del Rosario
New York
A prolific painter, Md Tokon started
painting in his native Bangladesh
as a young artist and continues to
paint large canvases along with
works on paper in New York. It is
easy to recognize an artist with
technical polish and maturity by
the way he navigates the canvas in
pursuit of clarity, spatial depth,
surface density, intensity and
emotional color. Md Tokon fits the
profile. All these – the physicality
and the immediacy of his
brushstrokes - are inspired
moments of deep reflection; they
transport the viewer to a timeless
place beyond the horizon.
With cool and blazing colors,
heavy-handed gestures at times
yet subtle at the same time, they
are counterpoints and evocations
of a place, a mindscape of
memories and lived experiences.
The visual atmosphere suggests
dreams and aspirations, struggle
and celebration, fact and fiction,
the push and the pull effect where
the hot and the cool slip into deep
tonal opacity
painting in his native Bangladesh
as a young artist and continues to
paint large canvases along with
works on paper in New York. It is
easy to recognize an artist with
technical polish and maturity by
the way he navigates the canvas in
pursuit of clarity, spatial depth,
surface density, intensity and
emotional color. Md Tokon fits the
profile. All these – the physicality
and the immediacy of his
brushstrokes - are inspired
moments of deep reflection; they
transport the viewer to a timeless
place beyond the horizon.
With cool and blazing colors,
heavy-handed gestures at times
yet subtle at the same time, they
are counterpoints and evocations
of a place, a mindscape of
memories and lived experiences.
The visual atmosphere suggests
dreams and aspirations, struggle
and celebration, fact and fiction,
the push and the pull effect where
the hot and the cool slip into deep
tonal opacity
Md Tokon’s overall light treatment is impressionistic and
romantic by nature, but the dazzling gestures are clearly
expressive. While his earlier paintings were reminiscent of
Luminism and Impressionism of the late nineteenth century, his
recent canvases are contemporary, bolder in tone and darker in
presence. And while one might presume that the palette is by
injection more Western in style as per art history, it is rooted in
his birthplace of South Asia where the land, the skies, the rain
and the sun offer up profound inspiration.
Deep and light reds morph into undefined hues and slivers of
blues, greens and grays, they are remarkable paintings. Large
and small-scale canvases in striking contrast are curiously
paired and juxtaposed to create a semblance of entanglements
that are simultaneously harmonious, controlled and
spontaneous.
Art is experiential. Art is
life. I will conjecture in the
best possible way that
Md Tokon holds the
mirror to society,
consciously or
subconsciously, with
implicit reference to
romantic by nature, but the dazzling gestures are clearly
expressive. While his earlier paintings were reminiscent of
Luminism and Impressionism of the late nineteenth century, his
recent canvases are contemporary, bolder in tone and darker in
presence. And while one might presume that the palette is by
injection more Western in style as per art history, it is rooted in
his birthplace of South Asia where the land, the skies, the rain
and the sun offer up profound inspiration.
Deep and light reds morph into undefined hues and slivers of
blues, greens and grays, they are remarkable paintings. Large
and small-scale canvases in striking contrast are curiously
paired and juxtaposed to create a semblance of entanglements
that are simultaneously harmonious, controlled and
spontaneous.
Art is experiential. Art is
life. I will conjecture in the
best possible way that
Md Tokon holds the
mirror to society,
consciously or
subconsciously, with
implicit reference to
pressing
global issues
of today like
the climate
change, the
pandemic
and the world
conflicts.
They recollect the time when
nature was nurtured, when it was
pristine and raw as well as sublime
before the advent of new
technology and artificial
intelligence. To witness Md Tokon’s
paintings is to get a bit of
everything including corporeality,
nostalgia, solitude, longing,
meditation and beauty.
global issues
of today like
the climate
change, the
pandemic
and the world
conflicts.
They recollect the time when
nature was nurtured, when it was
pristine and raw as well as sublime
before the advent of new
technology and artificial
intelligence. To witness Md Tokon’s
paintings is to get a bit of
everything including corporeality,
nostalgia, solitude, longing,
meditation and beauty.
Spiritual
Escape
Hadrien Diez
Namur
Escape
Hadrien Diez
Namur
Images in our digital age are
ubiquitous, immediate, obvious.
From the selfies we scroll to the
advertisements we browse, instant
information has modified the very
nature of visual compositions.
Produced en masse by an
ever-growing base of self-declared
designers – anyone with a camera
or a graphic design app, basically –
they are meant to be quickly
consumed and forgotten at the
same pace.
The art of painting brings an
interesting counterpoint to this
immediacy. For painting are
images of a different nature: they
have the added layer of time. The
time of the composition of course,
that wrestle between painter and
matter, which can extend almost
ad infinitum until the artist’s
painful acknowledgement that all
is complete, that nothing can or
should be added – and just ask
Tokon how many “unfinished”
works lay in his studio in wait of
the final touch. The time of
technique, also, the slow process
ubiquitous, immediate, obvious.
From the selfies we scroll to the
advertisements we browse, instant
information has modified the very
nature of visual compositions.
Produced en masse by an
ever-growing base of self-declared
designers – anyone with a camera
or a graphic design app, basically –
they are meant to be quickly
consumed and forgotten at the
same pace.
The art of painting brings an
interesting counterpoint to this
immediacy. For painting are
images of a different nature: they
have the added layer of time. The
time of the composition of course,
that wrestle between painter and
matter, which can extend almost
ad infinitum until the artist’s
painful acknowledgement that all
is complete, that nothing can or
should be added – and just ask
Tokon how many “unfinished”
works lay in his studio in wait of
the final touch. The time of
technique, also, the slow process
during which a painter experiments with new tools, tries different avenues, hone
new skills. That time is not measured in minutes or hours, but on a life-scale
perspective.
Tokon’s works in “The Odyssey” clearly display depth, that rare dimension that only
time can bring to an oeuvre. And so, I was thrilled when he asked me to review this
text I wrote in 2015 for one of his previous solo in Dhaka. Some parts still feel eerily
accurate and to the point, like those on his soft layer works. These paintings still
operate in layers; their tonalities gently add up on the canvas while each new coat
brings a new dimension. The overall result gets more complex or, depending on the
viewer's perspective, simpler.
Other, newer works, proceed from a different technique. They feel bold and
gestural: all contorted lines and twisted shapes. Their mood is different, more
pressing than contemplative. These works show a new path, another direction – a
course of which Tokon’s old paintings perhaps bore the traces, but which he needed
time to explore and fully assert.
Then, as now, Tokon’s paintings are pure abstractions: no recognizable, figurative
element come to the rescue of the viewer to help him “understand” what he has
been given to see. These images are hardly grasped at a glance; they require an
active engagement. Viewers should be ready to give time to connect with them and
access their various dimensions. Consenting to that effort is a highly rewarding
experience, for Tokon aims at something deeper – which perhaps explains why
critiques sometimes use the term “spiritual” to describe his work.
Md Tokon's lives and works in the
United States, where he has
new skills. That time is not measured in minutes or hours, but on a life-scale
perspective.
Tokon’s works in “The Odyssey” clearly display depth, that rare dimension that only
time can bring to an oeuvre. And so, I was thrilled when he asked me to review this
text I wrote in 2015 for one of his previous solo in Dhaka. Some parts still feel eerily
accurate and to the point, like those on his soft layer works. These paintings still
operate in layers; their tonalities gently add up on the canvas while each new coat
brings a new dimension. The overall result gets more complex or, depending on the
viewer's perspective, simpler.
Other, newer works, proceed from a different technique. They feel bold and
gestural: all contorted lines and twisted shapes. Their mood is different, more
pressing than contemplative. These works show a new path, another direction – a
course of which Tokon’s old paintings perhaps bore the traces, but which he needed
time to explore and fully assert.
Then, as now, Tokon’s paintings are pure abstractions: no recognizable, figurative
element come to the rescue of the viewer to help him “understand” what he has
been given to see. These images are hardly grasped at a glance; they require an
active engagement. Viewers should be ready to give time to connect with them and
access their various dimensions. Consenting to that effort is a highly rewarding
experience, for Tokon aims at something deeper – which perhaps explains why
critiques sometimes use the term “spiritual” to describe his work.
Md Tokon's lives and works in the
United States, where he has
attended the
prestigious
Art Students
League of
New York – an
institution
which counts
the likes of
Mark Rothko
and Cy
Twombly in its
alumni.
His work has also deep roots in
Bangladesh’s long tradition of
abstract painting, of which Tokon
singles out the work of the late
Mohammad Kibria as an influence.
prestigious
Art Students
League of
New York – an
institution
which counts
the likes of
Mark Rothko
and Cy
Twombly in its
alumni.
His work has also deep roots in
Bangladesh’s long tradition of
abstract painting, of which Tokon
singles out the work of the late
Mohammad Kibria as an influence.
A Singular
Voice
Jonathan Hollander
New York
Voice
Jonathan Hollander
New York
Collaboration with visual artists
has been part of my practice as a
choreographer in New York City
for nearly 50 years.
Cross-pollination is essential for
dancemakers, whether with music,
painting, spoken word or
otherwise. My first mentor in New
York City was Merce Cunningham,
whose collaborations with Jasper
Johns, Andy Warhol, Robert
Rauschenberg and other notable
painters were fundamental to his
creations and formed a pivotal
influence on the next generation
of choreographers, I among them.
So, it is not a curiosity that Tokon
has influenced me profoundly
despite the generational gap and
different artistic medium that
would seem to separate us. His
lyricism, fantasias of color and
abstract, mystical form, and in fact
his background as a South Asian
artist in New York, all drew us
together over the past 10 years.
We both have drawn inspiration
from Bengali Renaissance Man
Rabindranath Tagore. (In 1995),
has been part of my practice as a
choreographer in New York City
for nearly 50 years.
Cross-pollination is essential for
dancemakers, whether with music,
painting, spoken word or
otherwise. My first mentor in New
York City was Merce Cunningham,
whose collaborations with Jasper
Johns, Andy Warhol, Robert
Rauschenberg and other notable
painters were fundamental to his
creations and formed a pivotal
influence on the next generation
of choreographers, I among them.
So, it is not a curiosity that Tokon
has influenced me profoundly
despite the generational gap and
different artistic medium that
would seem to separate us. His
lyricism, fantasias of color and
abstract, mystical form, and in fact
his background as a South Asian
artist in New York, all drew us
together over the past 10 years.
We both have drawn inspiration
from Bengali Renaissance Man
Rabindranath Tagore. (In 1995),
I choreographed 9 of Tagore’s songs and the resulting
production toured South Asia, Europe and the U.S.
What is it that makes
Tokon’s work stand out?
For me it is the ability of
his paintings to create an
environment, an
invitation to viewers to
step into another world.
His canvases transcend their two dimensionality, providing a
pathway into an immersive experience, full of sensory stimuli.
They also invite repeated viewings, with layer upon layer,
revealing treasures that emerge below the surface experience.
Battery Dance, the dance institution I formed in 1976, has
performed and taught in Bangladesh, one of the only American
dance companies to do so. I have lectured at the famed EMK
Center in Dhaka, sharing my artistic journey with the younger
generation of arts entrepreneurs there before the pandemic.
My interest in Bangladesh dates back many decades through
interactions with diplomats, politicians and artists in New York.
However, my fascination in recent years and my motivation for
touring there has been sparked through my admiration for
production toured South Asia, Europe and the U.S.
What is it that makes
Tokon’s work stand out?
For me it is the ability of
his paintings to create an
environment, an
invitation to viewers to
step into another world.
His canvases transcend their two dimensionality, providing a
pathway into an immersive experience, full of sensory stimuli.
They also invite repeated viewings, with layer upon layer,
revealing treasures that emerge below the surface experience.
Battery Dance, the dance institution I formed in 1976, has
performed and taught in Bangladesh, one of the only American
dance companies to do so. I have lectured at the famed EMK
Center in Dhaka, sharing my artistic journey with the younger
generation of arts entrepreneurs there before the pandemic.
My interest in Bangladesh dates back many decades through
interactions with diplomats, politicians and artists in New York.
However, my fascination in recent years and my motivation for
touring there has been sparked through my admiration for
Tokon, his work and in our
discussions about the art scene in
Dhaka.
It is cause for celebration that
Tokon’s paintings will be the focus
of a solo exhibition in Dhaka. His
singular voice as a painter, his
originality, his fearless and dogged
pursuit of a distinctive and
personal style and genre
regardless of changing trends,
positions him to emerge as one of
New York City’s leading painters of
South Asian origin. The exhibition
in Dhaka will undoubtedly
resonate among art-lovers,
students and the younger
generation of painters and
multi-disciplinary artists.
discussions about the art scene in
Dhaka.
It is cause for celebration that
Tokon’s paintings will be the focus
of a solo exhibition in Dhaka. His
singular voice as a painter, his
originality, his fearless and dogged
pursuit of a distinctive and
personal style and genre
regardless of changing trends,
positions him to emerge as one of
New York City’s leading painters of
South Asian origin. The exhibition
in Dhaka will undoubtedly
resonate among art-lovers,
students and the younger
generation of painters and
multi-disciplinary artists.
Nature,
Emotion,
and
Passion
Ronnie Landfield
New York
Emotion,
and
Passion
Ronnie Landfield
New York
I have had the opportunity to make the acquaintance of Md
Tokon in my studio at the Art Students League of New York
many years ago. He has become an integral part of the creative
New York community of abstract artists for at least 20 years.
He works hard on his paintings, and it has been a privilege to
observe his evolution as a painter; over the course of several
years and consider him a friend.
I have written in the past that his work was accomplished, well
made, and expressive of his personal experience and of his
sense of color and nature. Of late his work has become all the
more succinct, direct, and to the point as he has matured into
a painter who has a clear idea of what he needs to paint about.
It is no small accomplishment to travel from one culture to
another and to absorb what is universal and important from
both cultures; and be able to reflect those insights and to
create works of art that resonate meaning to all. Md Tokon has
evolved into a very fine emerging young artist who has grasped
the essence of the East and the West in his work.
His paintings are direct; they do not hesitate. The paintings
deliver their message reflecting nature, emotion, and passion;
with intense aesthetic expression, through surface and color.
With each passing year Md Tokon’s work gets better and more
precise, exhibiting his increasing sophistication and
understanding of contemporary abstraction.
When an artist is truly in touch with himself; he can begin to
touch others through his work. With each passing year as life
Tokon in my studio at the Art Students League of New York
many years ago. He has become an integral part of the creative
New York community of abstract artists for at least 20 years.
He works hard on his paintings, and it has been a privilege to
observe his evolution as a painter; over the course of several
years and consider him a friend.
I have written in the past that his work was accomplished, well
made, and expressive of his personal experience and of his
sense of color and nature. Of late his work has become all the
more succinct, direct, and to the point as he has matured into
a painter who has a clear idea of what he needs to paint about.
It is no small accomplishment to travel from one culture to
another and to absorb what is universal and important from
both cultures; and be able to reflect those insights and to
create works of art that resonate meaning to all. Md Tokon has
evolved into a very fine emerging young artist who has grasped
the essence of the East and the West in his work.
His paintings are direct; they do not hesitate. The paintings
deliver their message reflecting nature, emotion, and passion;
with intense aesthetic expression, through surface and color.
With each passing year Md Tokon’s work gets better and more
precise, exhibiting his increasing sophistication and
understanding of contemporary abstraction.
When an artist is truly in touch with himself; he can begin to
touch others through his work. With each passing year as life
changes with the passage of time;
an artist's work evolves and
reflects those changes.
It has
become clear
with the
passage of
time, how
Tokon's work
reflects life's
changes; and
strike eternal
chords; and
how
powerfully
they connect
to the viewer.
an artist's work evolves and
reflects those changes.
It has
become clear
with the
passage of
time, how
Tokon's work
reflects life's
changes; and
strike eternal
chords; and
how
powerfully
they connect
to the viewer.
Emotive
Impetus
Javed Jalil
Dhaka
Impetus
Javed Jalil
Dhaka
A bouquet of sensation, inquiring
awareness of the seen, fathomed
by our visual apparatus engrosses
the information of the physical
world with intertwined playfulness
and segmentation. The sense
perception of seen becomes a
magical interface of mystery and
facts. Visual impression interprets
its movement through the brain’s
mechanics and sensory modules.
The identification process starts
within the framework of objective
and subjective interplay. Our
observation and attention towards
visibility become a paradoxical
battleground of what is seen,
processed, and realized. The
intervention of perceptions takes
place as what we see and want to
see could be an illusion in itself.
The memory interposes the
presence.
Sensation in its receiving is
contained with purity and
freshness. Later our thinking mind
intervenes and generates a
variation of perceptibility.
Thoughts relate to each other
awareness of the seen, fathomed
by our visual apparatus engrosses
the information of the physical
world with intertwined playfulness
and segmentation. The sense
perception of seen becomes a
magical interface of mystery and
facts. Visual impression interprets
its movement through the brain’s
mechanics and sensory modules.
The identification process starts
within the framework of objective
and subjective interplay. Our
observation and attention towards
visibility become a paradoxical
battleground of what is seen,
processed, and realized. The
intervention of perceptions takes
place as what we see and want to
see could be an illusion in itself.
The memory interposes the
presence.
Sensation in its receiving is
contained with purity and
freshness. Later our thinking mind
intervenes and generates a
variation of perceptibility.
Thoughts relate to each other
crafting connectivity of ambiances realized into emotion. As
our thought becomes biased and travels in memory. What is
established in our mind to be known, creates a sense of
conclusion that prevails over us, from this moment of
anticipation of observing to see what is… without evaluation
can create a possibility to discover the unseen.
Tokon the painter of fresh
sensation and
flamboyant energy
emancipates a multitude
of vibrations and
experiential reactions. He
wants to share sensation
in its directness and
aggressive rebellious
appeal. As he initiates us
the viewer into the arena
of immense emotive
movements Where the presence and
moment are explored with passionate maneuvering of bodily
our thought becomes biased and travels in memory. What is
established in our mind to be known, creates a sense of
conclusion that prevails over us, from this moment of
anticipation of observing to see what is… without evaluation
can create a possibility to discover the unseen.
Tokon the painter of fresh
sensation and
flamboyant energy
emancipates a multitude
of vibrations and
experiential reactions. He
wants to share sensation
in its directness and
aggressive rebellious
appeal. As he initiates us
the viewer into the arena
of immense emotive
movements Where the presence and
moment are explored with passionate maneuvering of bodily
and inner impulses refurbished
with pigments, motions, and
atmospheric. And sensation itself
becomes the motif of the visual.
His painterly odyssey concludes
with various temperaments that
can be realized in his visuals which
penetrate time, memory,
obstruction, and longing.
His painting approaches the visual
pinnacles of light, color, and
tactility with voluminous
immersion, liberating into a
free-flow activity. Where thought
is ruled more by the intrinsic
sensory deductions and driving
forces of the unwilled. The union
of various moments of awareness
and also the unaware are aroused
by the playful reactive chain game
of responsive chemistry.
In this exhibition at Edge, his
visuals can be recognized into 2
domains of appearances. The
strong articulation of the untamed
bold strokes and diffused tonality
of colors as atmospheres of
moods.
with pigments, motions, and
atmospheric. And sensation itself
becomes the motif of the visual.
His painterly odyssey concludes
with various temperaments that
can be realized in his visuals which
penetrate time, memory,
obstruction, and longing.
His painting approaches the visual
pinnacles of light, color, and
tactility with voluminous
immersion, liberating into a
free-flow activity. Where thought
is ruled more by the intrinsic
sensory deductions and driving
forces of the unwilled. The union
of various moments of awareness
and also the unaware are aroused
by the playful reactive chain game
of responsive chemistry.
In this exhibition at Edge, his
visuals can be recognized into 2
domains of appearances. The
strong articulation of the untamed
bold strokes and diffused tonality
of colors as atmospheres of
moods.
A Voyage
through
Space and
Time
S. Manzoorul Islam
Dhaka
through
Space and
Time
S. Manzoorul Islam
Dhaka
I came to know Md Tokon during
the dark days of the Covid 19
pandemic, sometime in August
2020, when we all were living in
our separate bubbles, safe from
the fury of the virus. Denied the
usual face to face meetings, we
were forced to take recourse to
virtual communication to keep our
touch with reality and also
preserve our sanity. At a time
when we were desperately
searching for a way out, Durjoy
Foundation of Dhaka came up
with an admirable
solution—connecting with each
other through art. The Foundation
brought together 9 young
Bangladeshi artists, some of them
living and working abroad, to
create art that would spread a
healing message. Aptly titled
Future of Hope, the virtual
exhibition of art work done by all
the artists was a success. Tokon’s
contribution was a large painting
titled Light is Coming which
reflected on the darkness of the
time and the inevitable arrival of
light, which he considers the
the dark days of the Covid 19
pandemic, sometime in August
2020, when we all were living in
our separate bubbles, safe from
the fury of the virus. Denied the
usual face to face meetings, we
were forced to take recourse to
virtual communication to keep our
touch with reality and also
preserve our sanity. At a time
when we were desperately
searching for a way out, Durjoy
Foundation of Dhaka came up
with an admirable
solution—connecting with each
other through art. The Foundation
brought together 9 young
Bangladeshi artists, some of them
living and working abroad, to
create art that would spread a
healing message. Aptly titled
Future of Hope, the virtual
exhibition of art work done by all
the artists was a success. Tokon’s
contribution was a large painting
titled Light is Coming which
reflected on the darkness of the
time and the inevitable arrival of
light, which he considers the
flipside of darkness. As one of the two mentors who guided the
artists though a series of conversations and discussion done
online, I could feel the warmth and power of the painting
emanating from its depth
My first introduction to Tokon’s art and aesthetics convinced
me to explore the universe of his art. I knew he had had a
couple of solo exhibitions in Dhaka’s Bengal Gallery in the
recent past, so getting some reproductions of his paintings was
not difficult. I had also talked to him quite a lot and asked him
many questions which he had happily answered. I knew, for
instance, of his childhood days in a village in Jhenaidah, and
how he loved the textured surfaces of fields and clay roads, the
luminosity of summer afternoons, and the rippled surfaces of
ponds, and how he wished he could disappear beyond the
horizons that merged with the infinity of sky. The impressions
remained etched in his mind and often found their
reincarnation in the reflective and meditative content of many
of his paintings. It is no wonder that Tokon has something of a
Baul in him—he too is an itinerant artist in pursuit of an inner
happiness that eludes the material world. It is also not
surprising that he left home at a very young age and found
another home in New York, which welcomes other artists and
itinerants seeking the mysteries of art or life.
Tokon told me—and his
work pretty much says
so—
artists though a series of conversations and discussion done
online, I could feel the warmth and power of the painting
emanating from its depth
My first introduction to Tokon’s art and aesthetics convinced
me to explore the universe of his art. I knew he had had a
couple of solo exhibitions in Dhaka’s Bengal Gallery in the
recent past, so getting some reproductions of his paintings was
not difficult. I had also talked to him quite a lot and asked him
many questions which he had happily answered. I knew, for
instance, of his childhood days in a village in Jhenaidah, and
how he loved the textured surfaces of fields and clay roads, the
luminosity of summer afternoons, and the rippled surfaces of
ponds, and how he wished he could disappear beyond the
horizons that merged with the infinity of sky. The impressions
remained etched in his mind and often found their
reincarnation in the reflective and meditative content of many
of his paintings. It is no wonder that Tokon has something of a
Baul in him—he too is an itinerant artist in pursuit of an inner
happiness that eludes the material world. It is also not
surprising that he left home at a very young age and found
another home in New York, which welcomes other artists and
itinerants seeking the mysteries of art or life.
Tokon told me—and his
work pretty much says
so—
that he has
two distinct
personalities:
poetic and
down to
earth. His
canvas is an
active one,
like those of
the action
painters he
admires,
displaying
both gestural
and
expressive
moods and
styles.
Subconscious
journey
Shreya Ajmani
Bonhams, London
journey
Shreya Ajmani
Bonhams, London
For Md Tokon, the path to becoming
a prolic painter in New York was not
paved with ease. It began at
Dhaka University of Fine Arts back in
1998, where the artist’s painting stint
lasted two years before his
venture to New York in 2001. A
pivotal moment ensued upon arrival
in the city - an awakening sparked by
visits to galleries and museums,
where the works of Rothko, Pollock,
and Monet kindled a profound
dream.
For the auction, Tokon presents
‘Lovers in the Garden’, a testament to
the artist’s subconscious journey.
With every stroke, colour and line
intertwined, forming an atmospheric
garden that encapsulates the artist’s
breath and movement. “It’s a garden,
atmospheric. I felt like the way I was
breathing and movements were in
there within the brushstrokes.
Sometimes I stop and question if my
work is speaking to me. Many times, I
make a powerful line and then it’s
gone underneath all the layers and
sometimes I just leave the soft layers.
Sometimes I can’t go back and miss
them,” Tokon says.
The pursuit of Tokon’s goal to be an
artist led him to the City University of
New York in 2003, where he
a prolic painter in New York was not
paved with ease. It began at
Dhaka University of Fine Arts back in
1998, where the artist’s painting stint
lasted two years before his
venture to New York in 2001. A
pivotal moment ensued upon arrival
in the city - an awakening sparked by
visits to galleries and museums,
where the works of Rothko, Pollock,
and Monet kindled a profound
dream.
For the auction, Tokon presents
‘Lovers in the Garden’, a testament to
the artist’s subconscious journey.
With every stroke, colour and line
intertwined, forming an atmospheric
garden that encapsulates the artist’s
breath and movement. “It’s a garden,
atmospheric. I felt like the way I was
breathing and movements were in
there within the brushstrokes.
Sometimes I stop and question if my
work is speaking to me. Many times, I
make a powerful line and then it’s
gone underneath all the layers and
sometimes I just leave the soft layers.
Sometimes I can’t go back and miss
them,” Tokon says.
The pursuit of Tokon’s goal to be an
artist led him to the City University of
New York in 2003, where he
majored in Art and Communication Design. However, it was
outside the structured curriculum, at the Art Students League of
New York, where his true practice blossomed. Painting there
during weekends under instructors oered glimpses into the
stories of revered artists who once frequented the same space.
“For the last 23 years, I’ve been in New York. Now, I have an
independent studio. I couldn’t aord it then. There was a time I
used to live in one room, where I used to sleep, eat, and paint,”
he says.
While starting out, there were days when quality paints were
unaordable, pushing Tokon to employ enamel paint,
repurposed from his stint in house painting - a temporary job
that unexpectedly instilled a sense of artistic ownership. “My
rst job in New York was construction. I would paint houses,
only for a week or two, and I was falling in love with it. Every
time I would paint someone’s house wall, I would feel like it was
my canvas.” Yet, this unconventional choice was not without
repercussions. The pungent odour of house paint led to a clash
with an instructor, but the artist’s determination to push
through prevailed. “I almost cried that day. I could’ve stopped
right there and ruined my career but I didn’t stop.” Juggling
multiple jobs while nurturing his practice, Tokon found solace in
painting on wood, eventually earning the instructor’s
appreciation. What initially led to a tense moment later
transformed into camaraderie, even resulting in the instructor
writing an article about the artist—a milestone in his growth
within the New York art scene.
Driven by a profound appreciation for non-objective art, Tokon’s
works embody a fascination with stories hidden in unknown
spaces that captivate his gaze. “What your eye notices is very
important. I realised that non-objective work touched me more.
I’m interested in unknown places and unknown stories.”
outside the structured curriculum, at the Art Students League of
New York, where his true practice blossomed. Painting there
during weekends under instructors oered glimpses into the
stories of revered artists who once frequented the same space.
“For the last 23 years, I’ve been in New York. Now, I have an
independent studio. I couldn’t aord it then. There was a time I
used to live in one room, where I used to sleep, eat, and paint,”
he says.
While starting out, there were days when quality paints were
unaordable, pushing Tokon to employ enamel paint,
repurposed from his stint in house painting - a temporary job
that unexpectedly instilled a sense of artistic ownership. “My
rst job in New York was construction. I would paint houses,
only for a week or two, and I was falling in love with it. Every
time I would paint someone’s house wall, I would feel like it was
my canvas.” Yet, this unconventional choice was not without
repercussions. The pungent odour of house paint led to a clash
with an instructor, but the artist’s determination to push
through prevailed. “I almost cried that day. I could’ve stopped
right there and ruined my career but I didn’t stop.” Juggling
multiple jobs while nurturing his practice, Tokon found solace in
painting on wood, eventually earning the instructor’s
appreciation. What initially led to a tense moment later
transformed into camaraderie, even resulting in the instructor
writing an article about the artist—a milestone in his growth
within the New York art scene.
Driven by a profound appreciation for non-objective art, Tokon’s
works embody a fascination with stories hidden in unknown
spaces that captivate his gaze. “What your eye notices is very
important. I realised that non-objective work touched me more.
I’m interested in unknown places and unknown stories.”
For Tokon, art is more than mere
expression; it is akin to prayer–a
process that involves surrendering to
an inexplicable force, lending an
almost spiritual essence to his work.
Each stroke on the canvas signies a
dance–a rhythm that resonates
within, often concealed beneath
layers, imparting a sense of
meditation to those who engage
with his work.
“When I paint, I don’t
know what’s going on.
Sometimes it’s like
someone is forcing me.
I never sit while
painting. I dance on the
canvas.”
expression; it is akin to prayer–a
process that involves surrendering to
an inexplicable force, lending an
almost spiritual essence to his work.
Each stroke on the canvas signies a
dance–a rhythm that resonates
within, often concealed beneath
layers, imparting a sense of
meditation to those who engage
with his work.
“When I paint, I don’t
know what’s going on.
Sometimes it’s like
someone is forcing me.
I never sit while
painting. I dance on the
canvas.”