Stepping into one of the galleries of the Academy of Fine Arts (mid-December), one caught one’s breath in a reflex action. The earthy — as in nature — fragrance in Mokhlesur Rahman’s third solo exhibition in Calcutta was as invigorating as the nature it depicted.

Nature is, of course, a pet subject in art, photography or poetry. But Rahman’s Beautiful Bengal woodcut prints had the lushness and depth of his very subject to suitably and directly impact the viewer. The woodcut ‘finish’ also gave it a rare vibrancy which was exemplified best in the serenity of yellows and bluish-greys of Good Morning Bangladesh, created five years ago.

Yet, the unity of the same yellows and blues, with touches of some other hues, gives his 2002 work, Sandy Shore, an undercurrent of dynamism. Rahman’s latest works were primarily represented by the Secretion of Water Meadows series where, again, his flamboyant strokes with multi-colours (No. 5) is offset by the predominantly fertile greens (No. 2) or the calm infused by the whites and pale yellows in No. 3.

It is the imaginative use of woodcuts by Rahman that gives all his works that fibrous and streaky effect which lends to his prints a touch of artistic durability.