Echoes of Whispering Waters is a personal exploration of my British-Bengali-Muslim heritage, inspired by Islamic and Bengali artistic traditions. This is the second piece of a larger series examining contemporary expressions of this complex identity through pattern and ornamentation.

The artwork draws inspiration from the Court of Lions in the Alhambra, Granada, known as the "Patio de los Leones". I'm captivated by its intricate geometric designs, particularly the central motif and its repetition, which form the basis of my artistic reinterpretation.

My process involves a fusion of traditional craftsmanship and digital techniques. Following the geometric construction of the design, I use precise laser-cutting to create intricate patterns on paper, which I then layer by hand. This meticulous technique allows me to build a complex composition, imbuing the work with both visual depth and intricate detail.

The piece incorporates reimagined Alpana motifs, a Bengali folk art traditionally created by women for religious ceremonies. The vermilion colour and Khadi paper are intentional choices, resonating with their cultural and historical significance in the Indian subcontinent.

These elements serve as a canvas for cultural synthesis, allowing me to create a visual representation of my multi-faceted identity.

Fragments of Reflection is a personal exploration of my British-Bengali-Muslim heritage, inspired by Islamic and Bengali artistic traditions. This piece is part of a larger series stemming from my research on contemporary expressions of this intricate identity through pattern and ornamentation.

The artwork draws inspiration from the Mexuar, a section of the Nasrid palace complex in the Alhambra, Granada, known as the "place of counsel". I'm fascinated by the intricate geometric designs, particularly the rosette patterns and star formations, which form the basis of my artistic reinterpretation.

My process involves a fusion of traditional craftsmanship and digital techniques. Following the geometric construction of the design, I use precise laser-cutting to create intricate patterns on paper, which I then layer by hand. This meticulous technique allows me to build a complex composition, imbuing the work with both visual depth and intricate detail.

The foundation of the artwork features a reimagined Alpana design, a Bengali folk art traditionally created by women for religious ceremonies. The vermilion colour and Khadi paper are intentional choices, resonating with their cultural and historical significance in the Indian subcontinent.

These elements serve as a canvas for cultural synthesis, allowing me to create a visual representation of my multi-faceted identity.

2024

25cm x 25cm x 5cm

The artwork features intricate rosettes and star patterns characteristic of the Mexuar room in the Alhambra Palace, including 16-pointed and 8-pointed stars arranged in complex compositions. It emerges as an intricate artwork through the layering of precisely laser-cut Khadi paper. This technique allows for the gradual construction of a complex geometric design, imbuing the piece with both visual depth and intricate detail. At the foundation of the artwork lies a reimagined Alpana motif, a traditional Bengali folk art form serves as the base layer, acting as a canvas for cultural synthesis and blending seamlessly with the overlaying Islamic geometric patterns.

2023

Constructing Identity: Contemporary Expressions of British-Bengali-Muslim Heritage through Pattern and Ornamentation

26 Feb 2022 – 3 Apr 2022

Tansa, the Japanese word for exploration, is the link that binds this Anglo-Japanese exhibition.

About

The project began with exploration – a research visit to textile workshops, galleries and studios in Japan, undertaken by 18 UK artists, led by Professor Lesley Millar, Director of the International Textile Research Centre at the University for the Creative Arts, Farnham.

South Hill Park will be hosting an exhibition of large works – which draw from the techniques, methods, research and approaches learnt in Japan – to produce a celebration of Tansa: Japanese threads of influence.

Artists: Dr Beverly Ayling-Smith, Dr Gail Baxter, Susan Blandford, Dr Linda Brassington, Jennifa Chowdhury, Evie Francis, Janice Gunner, Sian Highwood, Peta Jacobs, Jennifer Jones, Annette Mills, Gina Pierce, Dr Carol Quarini, Paula Reason, Hermione Thomson, Dawn Thorne, Kendall Clarke.

FINDING STAR

'Finding Star' is an art piece inspired by Jennifa's research visit to Japan, particularly the captivating architecture of the Miho Museum in Kyoto. Jennifa drew inspiration from the museum's unique design, surrounded by majestic mountains, providing an ideal backdrop for displaying historic artifacts. The museum's geometric constructions, filtered light, and Zen-like atmosphere, especially the circular window and aluminium louvres, deeply intrigued Jennifa.

This unique artwork, 'Finding Star,' creatively blends traditional and modern materials, textures, and techniques. It reflects Jennifa's fascination with pattern, colour, and structure, resulting in a mesmerising visual experience.

2022

Tansa, the Japanese word for exploration, is the link that binds this Anglo-Japanese exhibition. The project began with exploration – a research visit to textile workshops, galleries and studios in Japan undertaken by eighteen UK artists, led by Professor Lesley Millar, Director of the International Textile Research Centre. All of the UK artists are involved in higher education at the University for the Creative Arts as lecturers, Post-Doctoral researchers and MA and PhD students. The Japanese artists they met included National Living Treasures, Grand Masters and renowned contemporary textile artists. Together, the group of artists from the UK and Japan will exhibit new work in the Tansa exhibition. As the renowned indigo dyer Hiroyuki Shindo has described it, the exhibition, ‘…seems to be becoming a bridge tying UK and Japan’ (2020).

ABHYANTARA

This work explores the philosophical concept of 'Ma,' representing the space within which we exist. It embodies unoccupied space as energy filled with possibilities, echoing ephemeral experiences. Explored through architectural context, it focuses on the intimate space between fundamental structures, emphasising negative space and harmony. Traditional Shibori patterns and repeated motifs, inspired by past connections, are encapsulated in a vessel symbolising life, unity, and diversity. The viewers' interaction enhances gratitude, forming a rhythmic visual experience with geometric surface complexity.

2019

The three-piece installation is composed of opaque, semi-transparent, digitally printed acrylic discs bound together by golden intersection stitches. The printing process enables Jennifa to reimagine traditional motifs in a contemporary context through a delicate interplay of opaque and semi-transparent materials. At the heart of the installation lies the gold intersection stitch, which binds together the fragmented pieces into a cohesive whole. This serves as a reminder of the importance of connection and interdependence, symbolising the fragility, strength and beauty of human relationships.

As viewers move around the installation, the shifting light and shadow cast by their silhouettes transform the pattern, creating a dynamic and engaging experience that is truly immersive. In her work, Jennifa hopes that her audience will take something with them that will both intrigue them visually as well as touch them emotionally.

2019

Symbolically, "This Vessel Series" visually represents the cultural boundaries and unique characteristics associated with the female gender. It establishes a conceptual connection between the identity and femininity of not just Jennifa's own mother but also other mothers. Through viewer interaction with the interplay of light and shadow projections surrounding the installation, Jennifa explores the dynamics of both internal and external aspects of her identity, venturing into the realms of public and private experiences.

The Vessel of Festivities draws inspiration from the traditional Bengali saree, featuring a reimagined geometric pattern with gold thread cross stitches, reflecting childhood memories of Jennifa's paternal Aunt.

The Vessel of Devotion reimagines fluid movements and patterns of 'Alpana' lace motifs, symbolizing peace, purity, and godliness. The gold intersection stitch emphasizes connection and interdependence, representing the fragility, strength, and beauty of human relationships.

The Vessel of Celebration incorporates traditional symbols like 'Alta,' 'Bindi,' and 'Khol,' blending large paisley and lace motifs. It reflects childhood memories associated with Jennifa's Amma, bridging her personal and cultural identity from Muslim, Bengali, and Western influences.

2019

2019

2018

Heathland Artworks is an annual trail around RSPB Farnham Heath to view site responsive works by students from the University for the Creative Arts. From June to October each year, you can view imaginative and experimental installations from metalwork, fine art, product design, ceramic and glass students.