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The Unfinished Democracy

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The Unfinished Democracy

Mixed Media on Paper (Painting, Photographic Collage & Handwritten Text)

 

Artwork Description

The Unfinished Democracy is a hybrid artwork combining painting, photographic collage, performance documentation, and handwritten text. Created in 2011, it reflects on democracy not as a completed political system but as a fragile and continually contested human aspiration.

The work originated from a deeply personal event.

In 2007, during the period of Bangladesh’s military-backed caretaker government, I painted the body of our family’s white dog with colourful patterns as a playful gesture. Shortly afterwards, the dog wandered into the nearby parking area of Chattogram International Airport, located beside our family home. Security personnel, responding to concerns raised by a military patrol, poisoned and killed the animal.

For years I carried the memory of that event together with a profound sense of guilt. Gradually, the dog ceased to be only a personal memory. It became a symbol through which I began questioning the relationship between innocence, authority, violence, and political power.

The painting brings together several independent visual layers.

At its centre floats the brightly coloured dog, isolated inside a large black rectangular field. Surrounding this black form is the complete handwritten text of the National Anthem of Bangladesh. The anthem functions neither as decoration nor as illustration. It transforms the composition into a dialogue between personal grief and national identity, between the ideals embodied in the anthem and the realities experienced by ordinary citizens.

Beneath the black field appears my own body, taken from a public performance presented in Chattogram. During the performance I screamed continuously until black paint poured from my mouth, staining my white clothes. Afterwards I walked slowly through the city distributing black paper flowers scented with naphthalene before joining a public protest gathering near the Chattogram Press Club.

Photographs from that performance were incorporated into this painting as collage. Consequently, the work does not merely depict performance; it physically contains it. Documentary evidence, painting, memory, and symbolic language become inseparable.

Although rooted in a specific experience in Bangladesh, the work extends beyond one national context. It reflects upon a recurring political condition found across parts of South and Southeast Asia, where the popular aspiration for democratic governance often encounters invisible geopolitical interests, unequal global power structures, and competing hierarchies of influence.

Within this condition, military institutions, despite their complex and historically significant roles in nation-building and national security, can at times become entangled in broader struggles for political authority shaped by both domestic and external forces. The work does not reduce these histories to simple judgments. Instead, it questions how democratic aspirations may repeatedly remain suspended between public hope and geopolitical realities.

The image therefore becomes less a record of one tragic incident than a meditation on democracy as an unfinished promise.

Artist: Abu Naser Robii

Year: 2011

Artwork Size: 30 × 23 inches (Unframed)

Series: Society, Memory & Political Consciousness

Availability: 1 in stock

Series Note

The Society, Memory & Political Consciousness series examines the complex relationship between personal experience, collective memory, political structures, and historical transformation. Drawing upon painting, performance, photography, archival materials, and handwritten texts, these works investigate how ordinary lives become intertwined with larger systems of authority, national identity, and geopolitical power.

Rather than documenting political events, the series explores the emotional and ethical consequences of living within history.

Artist’s Note

This work began with the death of a dog, but it eventually became a reflection on democracy.

For many years I felt responsible for what happened. Gradually I realised that my grief was connected to larger questions concerning authority, nationalism, political history, and the position of ordinary people within systems of power.

The photographs embedded in this work are fragments of my own life. The dog comes from a family photograph. The human figure is my own body documented during a public performance. Around the black rectangular field I wrote the complete text of the National Anthem of Bangladesh, a symbol that has appeared repeatedly throughout my performances and visual works.

For me, the anthem represents both love for one’s country and the ideals upon which a nation imagines itself. By surrounding a dark field with the anthem, I wanted to ask whether those ideals are always fully realised in lived experience.

Although this work emerged from Bangladesh, it also reflects my observation of a broader political phenomenon across South and Southeast Asia. In many societies, people continue to express an unwavering desire for democracy, while larger geopolitical interests and unequal power relationships often complicate or delay its full realization.

I do not offer this work as a political verdict. I offer it as a personal testimony, an act of mourning, and an invitation to think about democracy not as a fixed achievement, but as a continuous ethical responsibility shared by citizens, institutions, and the international community.

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