Rana Begum: The Folded Page

23 Nov – 31 Dec 2011

Inspired by the everyday clutter of barely ordered chaos surrounding me in London, I seek out instances that seem to accidentally make sense. These are the moments that inspire me, and within my work I try to capture multiple moments of alignment, and the viewer, by choosing where to pause in front of the work, can create almost infinite compositions. This creates a unique relationship between the work and viewer. Each person who sees them must find his or her own individual moment of alignment, the single position where every piece lines up for them. The reward is a rippling fluid shift, geometric forms turned upside down, flipping from yellow to blue, from pink to brown. You must interact with them; no longer a passive viewer.

Like the urban furniture that inspires me, we must consider art as objects existing in the same three dimensions as we do - the implication is that these works are not intrinsically higher, or do not carry more value than the found objects that I notice around me in London. My hope is that the work can almost be viewed as a lesson in seeing, because upon leaving the work, perhaps the viewer starts to see these moments around them, and notices anew the odd and often uncharacteristic glimpses of beauty that living in a city can provide.

Much of my work sits between wall based, and three-dimensional forms. The work takes cues from built and urban environments, looking at colour, line, form, and how they collide in the city.

My current work is mainly fabricated from powder-coated and painted metal extruded sections. The language these materials use is at first inspection one of mass production. But then as the complexity of pattern that flows across these linier hard-edged forms is made visible, something far subtler is revealed.