An interplay of light and shadow on human-made forms, Rana Begum’s latest body of work uses geometric abstraction as a visual tool to create an aesthetically pleasing experience for viewers. Her visually serene sculptures are an intersection of hard-edged shapes and softly diffused lights, aspiring to create a sense of purity and harmony. A series of past and present artworks which trace the dynamic relationship between shape, form, and colour are part of Begum’s first solo exhibition titled “The Space Between” featured at a public space at London’s Parasol Unit.
Inspired by Islamic architecture and by pioneers of minimalism such as Ellsworth Kelly and Sol LeWitt, Begum’s work oscillates between the ornamental, meditative, and industrial. Her body of work comprises of delicately folded steel sheets which emulate the Japanese art of origami. With a desire to create artwork which is pure and simple, her work is an conjunction of hard-edged metal material with the soft reflections producing moments of aesthetic wonder.
For instance in No. 555 and No. 563, we sense a geometric equilibrium which make the folded metal works appear almost weightless. Each folded sheet is meticulously constructed, with the underside side coated with fluorescent colours, thereby creating reflections falling upon the supporting wall. The outcome of such graceful works attribute a sense of lightness and fragility to the sculpture, further making the work appear buoyant. In the first work, the white and sea weed green are juxtaposed to give prominence to the geometrical contours in the body of work. The reflection creates a powerful effect of a third dimension which not only is vividly poetic, but also a visceral experience for the viewer who is exploring the multi-perspective quality the body work has to offer.
Begum, whose body of work is spatially playful, articulates repetition in some of her works. Keeping it simple and minimal in its formal language, her work titled No. 277 is a black and blood red triangular repetitive pattern displayed one above the other, on the wall and the floor. Influenced by traditional Islamic art and architecture, the practice of using repetitive geometric motifs is said to reflect the unchanging tenets to be followed by the doctrine of Islam. Furthermore, as visualising the divine is an anathema to Islam, followers took refuge in geometric repetitive patterns. From there on the act of creating geometry became an essential part of worship. In this light, Begum’s use of repetition gives rise to the idea of the divine, further evoking a sense of the numinous.
Today Begum’s art practice is lodged between constructivism and minimalism, luring the audience to take a glimpse inside her symmetrical mind. Her distinctive visual vocabulary gives industrialised materials a magical touch, there by skilfully engaging with elements of colour, material, movement and form.