Kalpana, who was only 23 when she was abducted, had made it her life’s mission to campaign for the rights of the indigenous people living in the Chittagong Hill Tracts (CHT). She belonged to the Chakma or Pahari community, and was a leader of the Hill Women’s Federation.

The ethnic conflict in the CHT, which began in 1977 soon after the Bangladesh state came into being, continues to this day in spite of a peace treaty negotiated in 1997 between the state and the Pehari people. Amnesty International reports that more than 100,000 Pahari have been displaced by the conflict. There have been multiple reports of human rights violations, massacres and the razing of entire villages by Bangladeshi forces.

The portraits of Kalpana’s warriors – those who have refused to let go of her memory and legacy – were created using laser etching on straw mats. This innovative technique, developed specifically for this exhibition, is rooted in the everyday realities of the people and the sparse conditions of Kalpana’s home where she slept on the floor on a straw mat.

Shahidul Alam said he wanted the portraits to be burned onto the straw mats by a laser beam to remind the viewer of the fires deliberately set by the authorities who had burnt the Pahari villages – something that Kalpana was protesting about in her last confrontation with the military.

The laser device used to create the portraits is more commonly found in Bangladesh’s garment factories, notorious for their poor working conditions after tragedies such as Rana Plaza, where more than 1,100 workers died in 2013 when a factory collapsed. “Because of the situation of the workers, a laser device which is used in the garment industry being appropriated for something like this was for me very apt, because I think as artists we need to appropriate the spaces, we need to turn things around. It’s guerrilla warfare and in guerrilla warfare you have to use the enemy’s strength against them, which is what we are trying to do”, Shahidul said. “I wanted the process itself to deal with the politics.”

Alongside the portraits, in Autograph’s upstairs gallery is a second part of the exhibition which sheds light on the internal displacement of the Paharis and the arrival of the government-backed Bangali settlers.