Sadek Ahmed, a Bangladeshi visual artist and motion graphics designer, has been carrying the colors and textures of this land in his heart for nearly two decades. Currently serving as the Chief of Graphics at DBC News, he also shares his creative insights as a Part-time Lecturer at the Department of Graphic Design and Multimedia, Shanto-Mariam University of Creative Technology in Uttara, and teach in his own learning center Motion School of Visual Effects. Over the years, Sadek has mastered several art forms, watercolor, acrylic, and printmaking, but among them, watercolor remains closest to his soul, followed by printmaking.
His journey with art began early, rooted deeply in his childhood memories. “My parents were fond of my art and gave importance to it,” he shared warmly. Born and raised in Kishoreganj, he was lucky enough to attend two schools that valued art highly. They not only encouraged his creativity but made his early steps as an artist smoother and more inspired. Back then, young Sadek would often look at Hashem Khan’s artworks with admiration. Later, as he entered Charukala Institute, he discovered a new love, printmaking. That academic exposure shaped him profoundly. He found himself drawn to the works of legendary artists like Shafiuddin Ahmed, Monirul Islam, Prof. Mahmudul Haque, Rokeya Sultana, and Kalidas Karmakar. From the Western world, the influence of Rembrandt was particularly strong. Sadek’s fascination with light and shadow, what he fondly calls “the life of a painting”, came directly from Rembrandt’s style. For Sadek, lightshade and lines are the heartbeat of his compositions.
Lightshade is the life of painting,
he said with conviction, explaining how the interplay of light brings depth, emotion, and spirit into a piece. In his paintings of Old Dhaka, narrow lanes, broken windows, rustic walls, and tangled wires, light often plays a silent yet powerful role. The tangled electric wires, in particular, are one of his favorite visual elements. “Puran Dhaka has no life without wires,” he smiled. Through these subjects, he tries to capture not just the look of the city but its rhythm, chaos, and charm. His works have always been inspired by Bangladeshi heritage. The vibrant culture of Old Dhaka, its people, its buildings, and even its food have found a place in his paintings. He believes an artist’s surroundings naturally shape their creative identity.
“I always try to represent the heritage part of Bangladesh in my art,”
he said. Whether it’s an old biryani shop, a rickshaw on a busy street, or a narrow alley filled with wires and shadows, his artworks reflect the spirit of Bangladesh.
Sadek’s approach to art is both emotional and technical. He believes that watercolor is one of the hardest mediums to control. “Artists who work with watercolor can work with everything, because it’s hard to control as it’s media-based,” he said. The fluidity of watercolor demands precision, patience, and a deep understanding of balance. On the other hand, printmaking is a technical process where a single mistake can ruin the entire piece. It offers no chance for correction. “No artist can be fully satisfied doing printmaking as there can be so many things missing or incomplete,” he reflected. Unlike acrylic or oil, where layers can be redone, printmaking is a one-shot process that requires full command of the medium.
Despite these challenges, he finds beauty in both forms. Watercolor gives him emotional satisfaction, while printmaking tests his patience and technique. However, he admits that printmaking in Bangladesh still struggles to gain mainstream appreciation. “People who understand it, buy it,” he noted, explaining that the local market is yet to value it as much as it deserves. But he is hopeful, the scenario is changing. Today, more galleries are opening their doors to printmaking exhibitions, and Bangladeshi artists are earning recognition internationally. “Printmaking is an emotion,” he said. “People can find so many things in these paintings, the artist’s own emotions.”
Sadek’s subjects often come from his heart rather than his head. Old buildings, cracked walls, vintage doors, and the simple, nostalgic corners of life, these are what speak to him most. He admits that these impressions have changed subconsciously over time, but his love for representing heritage and history remains constant. His works often lean toward impressionist styles, capturing fleeting emotions rather than precise realism.
Over the years, he has seen a significant transformation in Bangladesh’s art scene. During his student days, art exhibitions were limited and often restricted to a small circle. Today, with the rise of social media, artists from different backgrounds are connecting more than ever before. Platforms like Facebook and Instagram have opened up a global stage, making it easier for Bangladeshi artists to showcase their work and find appreciation. According to him, watercolor artists now enjoy an even greater platform than before. “The watercolor scene in Bangladesh had a good chance in the past, and it still has. Even more scopes are there now,” he said optimistically.
Sadek also recognizes the evolving balance between traditional and new media art. He points out that while traditional paintings and prints are more sell-based, performance art, digital installations, and motion-based works are more about participation and experience. He himself bridges this gap, while he paints with brush and ink, he also works professionally as a motion graphics designer. This duality reflects the modern artist’s life, blending classic craft with contemporary technology.
When asked about his favorite piece among his own works, Sadek smiled and said he doesn’t have one. He explained that it’s hard for an artist to be completely satisfied with any single creation. “It’s hard to be satisfied as an artist,” he said. “We can’t be fully happy with our work.” To him, art is an ongoing process of learning, expressing, and evolving. His advice for young artists comes from years of observation and experience.
“No matter in which medium someone works, it’s the drawing that matters,”
he said firmly. A strong foundation in drawing, understanding of perspective, lightshade, and composition, these, he believes, are the essential steps in becoming a true artist. Without them, technique or color alone cannot create impact. He encourages aspiring artists to practice daily, even if it means completing one simple piece of work regularly.
For printmakers, Sadek emphasizes the importance of patience. “Understanding techniques, knowing the differences between media, and having good layout making, these make 90 percent of the success,” he explained. His own dedication reflects that same spirit of patience and persistence.
Through his paintings, Sadek Ahmed has built a bridge between memory and modernity. His love for Old Dhaka’s architecture, his fascination with the play of light and shadow, and his respect for technique make his works deeply Bangladeshi yet universally relatable. In a world where everything is fast and fleeting, his art stands still, quietly preserving the essence of a place, a time, and a feeling.
And as he continues to paint, print, and guide new generations of artists, one thing is clear, Sadek Ahmed doesn’t just create art; he preserves stories, light, and emotion within every line he draws.
