The wall-mounted sculptures in Rana Begum’s latest exhibition, “No 10”, are made from folded steel, brass and copper, but they look like origami pieces made from paper. As you walk around these artworks they keep changing thanks to the play of the different colours on the folds, the shadows created on the various planes and the reflections of the different facets on the shiny surfaces. Begum, a British artist of Bangladeshi origin, was recently awarded the prestigious Jack Goldhill Award for Sculpture by the Royal Academy of Arts, London, for this body of work. The artist has also experimented with furniture design for the first time and is showcasing two wooden benches with the same geometric and kinetic quality as her wall sculptures. We spoke to her about the evolution of her distinct style. Excerpts:
What does the title of this show reflect?
I called it “No. 10” because this is my tenth solo show. My work is not about a specific theme that can be reflected through a title. It is about exploring the visual language of form, light, colour and movement. So, I have now decided to just number every solo show just like I number every artwork, leaving it open for individual interpretation by viewers. I constantly try to push the relationship between form, colour and three-dimensional space, and the title reflects this evolution.
Why did you use materials such as steel this time?
I have always been fascinated by industrial materials and have previously used things such as electrical tape, hazard tape, wood, aluminium, resin and Perspex boxes in my work. This body of work has an architectural quality and I used construction materials such as steel, brass, copper and stainless steel because of their relationship to architecture, and also because of their reflective properties. These materials provide different surface qualities that trigger other senses adding to the visual effect of the work.
Are these artworks inspired by origami?
In a way they are. I got the idea when I was folding paper to create different shapes for my earlier work with Perspex boxes and noticed how they changed in form, depth and colour with the changing light. I enjoyed working with these slightly off-square shapes and tried to create a balance between the folds, the angles jutting out and the colours. Even though I used steel, brass and copper, I wanted to recreate the feel of paper. I crave for my work to be constantly changing and shifting and this is what I have tried to achieve with the shapes, the folds and the colours in these wall sculptures.
What is the significance of the different colours you have used and of keeping the front faces mostly white?
The colours were chosen instinctively and have been spray-painted mostly behind the folded faces. They look different on the flat surfaces and on the folds that jut out, and they accentuate the form. I kept most of the front faces white because I love the subtle changes in the shades of white caused by the way the light falls on it, and feel that it allows viewers to see how much light affects the work.
What is the connection between this work and urban architecture?
My sculptures represent experiences of walking through different spaces and observing the light, shadows, colours and lines changing and shifting. In a city things are constantly changing. Even when you walk down a street, things look different from different angles and there is a certain moment when every element seems to be in alignment. My work explores how the slightest shifts in colour, shape, movement and viewing angle can create complex and beautiful new alignments. It is inspired by the geometric patterns in Islamic architecture, and the changing patterns created by the light filtering in through the latticed windows and arches. I want to work with the architecture of a space rather than fighting against it, hence I choose the height at which a piece is hung based on the way the light falls on it, and often hang it above eye level.
Was the process of creating the benches similar to that of your other artworks?
Yes, I initially created the shape with folded paper. It is a complex geometry and it was quite difficult to put together. But I love the idea of my work in the gallery space and the possibility of walking all around it to see how it changes. I have used only one colour on the inside of the wooden panels, but it looks different from different angles. The inside of the piece reminds me of the alcoves in Islamic domes.
Jyoti Kalsi is an arts enthusiast based in Dubai.
“No 10” will run at The Third Line gallery until July 30.