The exhibition is an iteration of Yasmin’s process-based research in the fine weaving technique of DhakaiJamdani (muslin). Comprising textile forms, and drawings inspired by the weaver’s array of floral and geometric motifs, the show reflects the artist’s interest in pliable sculptural forms, and explores the dialectic of tension as language. 

In weaving, the basic structure of the woven material relies on a grid to materialize. With threads intersecting at right angles, a system or matrix of grids is built to form a piece of cloth. This matrix resolves the physical and aesthetic in its form, corresponding respectively to material and thought, and functioning at once as structure and as symbol. In Yasmin’s sculptures, the matrix extends beyond the surface of the material to suggest the communal network of weavers that labours to produce it. 

As a living tradition, jamdaniweaving presents ‘cultural threads’ that carry the memories of the people and their land. As a socially dynamic material, it is a signifier of civic identity. While the sculptural work embodies the weavers’ labour and the endurance of their craft, the artist’s hand asserts the work’s refusal to be viewed simply as fine fabric or as rigid sculpture. The work serves, as a form of quiet resistance and in doing so, is both a displayed act and an exhibited sculpture.

 The employment of text can be seen as an ethnographic reading relating to the ecological and cultural landscape of Bangladesh,and the importance of communication as a measure of collective history. Language is viewed as a social construct that represents an observable pattern or a series of codes whose rules change as per its usage in time and space. 

 Patterns of a Tactile Scoreis a parallel play on tensile and emotive structural forms and on the textured fabric of place and people.