Dream of Motherhood
Rasel Rana (Sajan), Fearless Ambassador 2026 (Felloship)
The Dream of Motherhood mural project reflects a new, inclusive philosophy that breaks away from traditional and biological definitions of motherhood. The core premise of this project is that motherhood is not confined to gender identity or biological limitations; rather, it is a universal and profound feeling.
We began this project with a unique workshop where trans women, non-binary individuals, queer people, and individuals of diverse identities participated. Participants expressed their thoughts on motherhood through the stitches of the kantha, reflecting how they dream of protecting the future. This mural brings those visions to life.
Every stroke and character in the mural illustrates that caring, nurturing, and ensuring the protection of future generations can be an innate instinct for anyone. Where people of diverse identities have come together, the word "Maa" (Mother) is no longer a specific gender identity, but a place of infinite compassion.
This mural is not just a painting; it is a social message. We aimed to show that the dream of motherhood belongs to everyone where there are no walls or boundaries to care and love. Our collective artistic effort is a small attempt to make societal perspectives more empathetic and inclusive, establishing motherhood as a broader human entity regardless of gender identity. This mural project is a collective expression of our dreams and courage, carrying a message of a beautiful and safe future for the next generation.
Wood Block: The New Folklore
at British Council, Dhaka, Bangladesh- 2025
Bengali artist Rasel Rana and British writer Zeeshan Choudhury collaborate to reclaim space for queer and disabled storytelling, challenging the historical erasure of these identities due to colonization. Through intimate workshops, they engaged queer disabled artists in designing woodblocks featuring storytelling elements, which was used to print narratives onto cotton sarees.
This project reimagines folklore by placing queerness and disability at its core, turning lived experiences into visual and textual motifs. By using traditional woodblock techniques and sarees, it reaffirms the presence of queer and disabled people within cultural heritage. Exhibitions in London and Dhaka has showcased these works, inviting audiences to interpret and engage with these narratives in a decolonizing process. Rooted in their socially engaged practices, Choudhury and Rana’s collaboration challenges norms, preserves marginalized histories, and envisions a future where queer disabled stories are woven into shared cultural memory.
THREADS OF IDENTITY
Kaalo.101, Kathmandu, Nepal-2025
THREADS OF IDENTITY is an artistic project that uses the saree as both a metaphor and a medium to explore and reconstruct queer identities within South Asian contexts. By combining traditional South Asian aesthetics with contemporary storytelling techniques, I seeked to: 1. Examine the cultural and historical erasure of queer narratives in South Asia, particularly during and after colonial rule. 2. Collaborate with queer communities to co-create new stories that reflect their lived experiences. 3. Present these narratives in an interactive, engaging format that invites public participation and dialogue. The saree, often associated with femininity and grace, is transformed into a medium for activism and storytelling. By integrating folklore, mythology, and contemporary queer experiences, the project creates a bridge between the past and present while imagining a more inclusive future. “As an artist navigating a world of societal norms and constraints, my personal and professional journey has been defined by resilience and transformation. My vocal cord disorder has further shaped my identity, compelling me to develop unique ways to express myself and challenge conventional perceptions of strength and femininity. My art acts as a bridge between my personal experiences and broader societal issues, particularly focusing on the intersections of gender identity, cultural heritage, and post-colonial narratives.”
Imprinting You
Kiran Nadar Museum of Arts, New Delhi, India- 2024
Everything in creation is part of nature. Every creation has its own identity. In our human life we leave the imprint of our being and identity in various ways. And finding ourselves or our identity in this great universe is our journey. As part of that journey, some of us will find ourselves in nature and try to make an artistic impression of it by the "Let's Find...".
Collagraph is one of the easiest ways to make prints through which we create a surface with our favorite objects from nature and express our thoughts on it.
Art Has No Religion-2
Charghat, Rajshahi, Bangladesh- 2024.
The core inspiration behind my work lies in the confluence of tradition, environment, and creativity. The ancient wall paintings of the Varendra region, created on mud houses using natural dyes, stand as a remarkable reflection of artistic heritage. These artworks are not only a testament to aesthetic beauty but also a profound connection to culture, beliefs, and life itself. However, due to the influence of modernity, colonial history, and religious misconceptions, this art form is now on the verge of extinction. To revive this fading tradition, I initiated a project in a village in the Varendra region, engaging local women and children in learning wall painting techniques. Using natural dyes, I encouraged them to express their imagination and creativity. Through my efforts, I aimed to challenge the misconception that this art is exclusive to a particular religion or community and to help them realize that art belongs to everyone. This project is not merely an attempt to decorate walls; it is a movement to preserve tradition and awaken creativity in the next generation. I believe that by practicing this art, we can reconnect with our roots and reclaim a sustainable artistic heritage for the future.