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Glass Frame : Bangladesh signs being chipped off walls, by order of the Military Government in Dacca
Mounted Prints from Memory Lane
Bangladesh signs being chipped off walls, by order of the Military Government in Dacca
Bangladesh signs being chipped off walls, by order of the Military Government in Dacca during the Bangladesh War of Independence 1971
Eric Piper
Mirrorpix
Daily Mirror
Dacca
Bangladesh
GL*3824961
Media ID 21482491
© Mirrorpix
Graffiti India Pakistan War Sign
7"x5" Glass Mount
Wall mounted or free-standing, these black edged glass frames feature a smooth chamfered edge and a stylish black border (on back face of the glass). Manufactured from 4mm thick glass, Glass Mounts are a durable, professional way of displaying and protecting your prints. Your 7x5 print is slotted into the back of the frame so can easily be changed if needed.
Tempered Glass Mounts are ideal for wall display, plus the smaller sizes can also be used free-standing via an integral stand
Estimated Image Size (if not cropped) is 17.7cm x 12.7cm (7" x 5")
Estimated Product Size is 20.3cm x 16.2cm (8" x 6.4")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with landscape (horizontal) orientation to match the source image.
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EDITORS COMMENTS
In this poignant print captured by Eric Piper, we are transported back to the tumultuous era of the Bangladesh War of Independence in 1971. The image showcases a pivotal moment when signs bearing the name "Bangladesh" are being chipped off walls under the strict orders of the Military Government in Dacca. The photograph exudes an air of suppressed tension as men, their faces etched with determination, work diligently to erase any trace of identity from public spaces. Each stroke on those once vibrant signs represents not just an act of physical removal but also symbolizes a desperate attempt to suppress a nation's aspirations for freedom. Amidst political turmoil and conflict between India and Pakistan, this snapshot encapsulates the struggle faced by Bangladeshis during that period. It serves as a stark reminder of how power dynamics can shape societies and obliterate cultural symbols that hold deep meaning for its people. Eric Piper's skillful composition captures both the destruction unfolding before our eyes and hints at resilience simmering beneath the surface. This evocative piece invites us to reflect upon historical events where nations fought tooth and nail for their right to self-determination while reminding us that even amidst chaos, hope persists in every brushstroke used to reclaim one's identity against all odds.
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