Philosopher of light and metal

Much of abstract minimalism might appear distinctly industrial, even impersonal. Yet, the spiritual beauty in Rana Begum’s art is hard to miss.
Rana Begum
Rana Begum
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For Rana Begum, it was Istanbul. In 2019, when she was in the city as part of an international residency programme, the artist found gazing out of her window and absorbing the sights and sounds of the ancient Turkish city captivating.

“The city is full of minarets and domes. They glisten against the skyline, adding shadows and curves that danced gracefully with the light,” recalls the Bangladesh-born, British artist. She lives in Stoke Newington, London, sharing a home with her partner and occasional collaborator Steve Webb and her two children. At the residency, Begum opted to work in a lamp-making workshop.

“The shapes I saw there reminded me of the minarets and domes of Istanbul. I always find the ephemeral nature of light fascinating,” says Begum. Her works are on display at Jhaveri Contemporary in Mumbai, after a gap of five years.

“What makes the current exhibition significant is the presentation of her new body of work, which while marking a departure from her previous show at the gallery in 2019, continues to embody the artist’s core concerns—the dynamic interplay of light, colour and form,” shares Priya Jhaveri, who founded Jhaveri Contemporary along with her sister Amrita in 2010.

The untitled show’s opening work is cryptically named No. 974 (2019-20)—typical of the artist who prefers to number her artworks instead of giving them titles. A wall adorned with a series of meditative domes is the first thing that catches the eye of visitors who step into the gallery.

No.974, 2019-20, Paint on mild steel
No.974, 2019-20, Paint on mild steel

Formed in mild steel, these “shape-shifting curiosities,” as the catalogue puts it, reinterpret Islamic-style domes and colourful lampshades through the prism of imagination and skill. At the heart of Begum’s practice is a lifelong passion for Islamic geometry.

“There’s a tendency to pigeonhole artists. When I was young I was always trying to find my path. Today, I feel more confident talking about my influences and inspirations,” says Begum, whose mesh sculptures, with their net-like texture and geometric shapes, often evoke Islamic designs.

Born in 1977 in Sylhet, Bangladesh, the artist’s family (she and her four siblings) moved to the UK when she was barely eight years old. Despite her father’s initial reluctance, she went to study Fine Art at Chelsea College of Art and Design, and later, secured an MFA in Painting from Slade School of Fine Art. Her work is associated with minimalist abstraction, a movement synonymous with the art of Agnes Martin, Donald Judd, Mary Martin, Sol LeWitt and Frank Stella.

She resists the argument often directed against minimalist abstraction that it is devoid of warmth and vitality. “I feel the very opposite. When I look at the works of Agnes Martin or Sol LeWitt I don’t find them cold, distant or soulless at all. On the contrary, there’s a lot of life in them,” she argues.

No. 1361 Relief Panel
No. 1361 Relief Panel

You could probably use the same adjectives to define Begum’s art. Yet, there’s also something about her choice of industrial materials such as stainless steel, brass, glass and aluminium that could feel impersonal. On her part, she finds timeless beauty and philosophy in metal.

Most of her works in recent years have been created using aluminium, a material she first started experimenting with following a serious back injury in 2007. “Aluminium is lightweight and it’s easier to apply colour on it or powder coat it,” she explains. Some of the painted aluminium works, which she refers to as ‘Relief Panels,’ are on display at her Mumbai show.

While Begum is primarily interested in the transformative power of light, and how it falls on surfaces and the captivating twirl that emerges from the interaction between light and shadow; she admits that she also wants her sculptures to provide spiritual sustenance to viewers.

“Even though I work with materials that are labour intensive, I find something contemplative about it and I really hope that the viewers, too, feel that sense of calm and simplicity,” says the 48-year-old. Though not overtly so, she insists her works are rooted in socio-political reality of our times. “I think all artists are responding to their immediate surroundings, and politics and society are very much a part of our lives,” she says, adding, “My work may not be a direct commentary but in essence, it is about the human experience.”

It’s quite an experience.

When & Where

Jhaveri Contemporary, Mumbai; Till February 22

Story by Shaikh Ayaz

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