Nur Munjerin Rimjhim’s work begins with attention. The kind of attention that asks you to slow down and really look at an old building, at a quiet street, at a woman standing still but carrying so much within her. She was born in 1996 in Naogaon. She brings her personal experiences into her work in a way that feels honest and close to life. Nur Munjerin brings a deeply personal lens to her art. She studied Drawing and Painting at the Faculty of Fine Arts, University of Dhaka, and completed her post-graduation in 2020. Since then, she has been building a practice that moves between two strong directions: detailed pen drawings of heritage architecture and expressive acrylic paintings that speak about society today.
Her pen-and-ink works are where you first notice her patience. Drawings like the Kantajew Temple and Paradise are full of small, careful lines. Every line feels deliberate, almost like an act of preservation. She spends time with each structure, observing it closely, almost like she is getting to know it. These works quietly talk about loss as well. Many of these buildings are slowly fading because of neglect, poor management, or fast urban development.
Rimjhim says, “I try to hold on to what is slowly fading. Each line is a way of remembering.”
Through her drawings, she shows how important it is to preserve these places for their architecture and the stories they carry. Old buildings appear alive, carrying marks of weather, age, and human presence. This careful documentation has made her one of the emerging voices working with heritage narratives in Bangladesh. Her first solo exhibition, Rhythm of Concrete (2023) at EMK Center, brought this part of her work into focus. The show presented a series of architectural drawings that felt both personal and historical at the same time.
Her acrylic paintings bring us into the present. Here, her focus shifts to people especially women, and the realities they live with. In works like Women and Society, she uses bold compositions, strong figures, and layered symbols to express emotions that are often left unspoken. In her words, the strength of women often goes unnoticed, but it is always there.
There is a clear connection between these two sides of her practice. On one hand, she is preserving memory through architecture. On the other hand, she is questioning society through human stories. Together, they show that culture and everyday life are deeply connected.
Nur Munjerin’s journey has also been marked by recognition. She won the 1st Award in the 24th Berger Young Painters Art Competition in 2019 and later received the 3rd Award in its 29th edition in 2024. She also received the Shaikh
Russel Award at the Bangabandhu Art Exhibition 2023, along with several others including the Anwarul Huq Memorial Award (pencil) in 2014 and the Artist Qayyum Chowdhury Memorial Award in 2019.
Her exhibition history reflects both consistency and diversity. Alongside her solo show, she has taken part in major exhibitions like the 25th National Art Exhibition (2023), 23rd Young Artist Art Exhibition (2022), and multiple editions of the Berger Young Painters competitions. She has also participated in several group exhibitions in 2025, including 9+ONE: Part II, a group art exhibition organized by Edge Gallery; Colors of Bangladesh, a group exhibition organized by Abinta Gallery in Melbourne, Australia; and Miniscope 2, organized by Dwip Gallery in Lalmatia, Dhaka.
Beyond exhibitions, she has joined many art camps across Bangladesh. From “Borshoboron 1432” by Abinta Gallery to “16 Days of Activism Against Gender-Based Violence,” these experiences have helped shape her ideas and deepen her connection with social themes.
Her works are now part of some important collections, including the Bangladesh Bank, the Bangladesh Bank Taka Museum, Rajshahi City Corporation, and Sarak Bhaban (RHD Head Office), along with private collections both in Bangladesh and abroad.
She has also worked as a curator, contributing to exhibitions like KARUP by Rezaul Karim Rezon and Journey of Existence by Md Tariqul Islam Herok. Her involvement in the US Women’s virtual exhibition at EMK Center reflects her interest in creating space for shared voices.
At the heart of everything she does is a simple and strong idea to care. Care for places, for people, and for stories that might otherwise be forgotten. Her work reminds us that what we choose to preserve, and what we choose to speak about, shapes how we understand ourselves. In a quiet but steady way, Nur Munjerin Rimjhim is doing both.
