colour codes
The Third Line is proud to present Rana Begum’s first solo exhibition Colour Codes. The exhibition, sponsored by Goldman Sachs International, is an exploration of the meaning and language of colour, with fusions of Op-Art, Minimalism and traditional Islamic form and design.
Blends of Western 1970’s aesthetics and the symbolic, spiritual dimensions found in Islam feature in this work – where elements of colour, line, form and repetition are used to create a pulse of movement and rhythm. This is Begum’s ‘Unity upon the plane of Multiplicity’ - two distinctly different worlds and styles, meshing together creating one solid aesthetic.
Reoccurrences of fundamental forms dominate Begum’s work; the square, circle, rectangle, and line pulsate in bright bold colours resulting in a hypnotic and spiritually evocative experience reminiscent of the basics of Islamic art and architecture. Begum describes this rhythmic aspect of her work ‘almost like a heart beating.’
Begum’s work comprises of three layers. First the aluminium, acrylic or wooden base, then vinyl, signs, electrical, adhesive or warning tapes are meticulously bound over this base forming tightly controlled compositions. Finally, a thick coating of resin is poured over the top, freezing the work in time.
As she incorporates tape and vinyl elements into her work, Begum transforms the material’s everyday purpose and with it transcends into the sublime, although the viewers association with these urban objects cannot be forgotten. Their uses - lithographic tape for masking, electrical tapes for labelling and hazard tape for warning - all form subtle messages with the observer. The colours also draw subconscious references to their symbolic power - blood red, hazard orange – all which are inherently coded individually, communicating to each viewer based upon their unique associations.
Begum's choices of colours are intuitive – the selection is made by seeing the reaction of one colour against another, playing with the blurring the line and edges of each shade, side by side, to create balance and harmony. Layer upon layer of overlapping tape creates blocks and strips of colour. For Begum, the repetition and physicality of this process is meditative and reminiscent of prayer. The process of creation is itself a spiritual exercise.
The reflection of light brings this play of colour to another dimension, as the seductively glossy resin surface allows wavelengths of colour within the work to become alive. Drawing upon the science of colour (each colour reflecting a unique variation in light), the works themselves are in constant transition depending on the direction of the light and the viewers’ angle of vision.
The work intensifies drastically with this final application of resin, for this is the stage where the artist’s pursuit of perfection is proved impossible, confirming, as she explains, that imperfection by man is innate. Perfection, she says, is only obtainable by Allah.
