(1971 – )
Chowdhury’s world of imagined imagery, in the configurations they appear, are apparent as deep allusions even to the untrained eye. His prime visual tactics in transforming his paintings into surrogates of the reality of his concept involve juxtaposition of images of different kinds – like a photomorphic image on to a painted description. These images are from different historical epochs and are differentially rendered, amongst other things. This carefully arranged juxtaposition of images gains a structural potency of narration when they are composed of images belonging to different visual response categories, and as with different contextual associations, the narrations assume an imaginary dimension.