Last week I ventured into deepest Stoke Newington for another fascinating Love Art London event. I wasn’t sure what to expect in advance of visit to Rana Begum‘s studio.
The Love Art London website promised that ‘tightly controlled compositions, hard-edge lines coated in thick glossy resin, impeccably applied colour and seductively tactile reflective surfaces are all very powerful features of this extraordinary artist’s work. Rana’s paintings are each an exercise in rhythm, symmetry & repetition which satisfy the eye’s appreciation of order and beauty in its simplest form.’
Indeed. And this is an accurate description of the finished works — but we discovered that behind the discipline and order of Rana’s art there were also some fascinating stories, involving some chance and almost haphazard events, which are as fascinating as the geometry of the work.
Rana’s studio is hidden down the end of a mews just off Stoke Newington Church Street. On entering, it seems more like an engineering workshop than anywhere an artist might be at work, as you walk past metal cutting and sanding machines, propane bottles and stockpiles of aluminium. It’s a paradox when you meet Rana, who’s physically quite petite, that these industrial tools and materials are those with which she (and her team) create her artworks.
Although she is known to her team, uncompromisingly, as ‘the boss’, Rana was an informative, generous and charming host. As the Love Art London party trooped around her studio, she took us through the lifecycle of a typical piece of her work, a good example of which is in the photo above, taken in the studio.
For one of these pieces, using parallel metal bars, square sectioned pieces of aluminium are inspected and then cleaned, cut and sanded and prepared for powder-coating at a specialist supplier — usually in black or a neutral colour. Rana then carefully paints the surface of the material of the component parts as part of an overall pattern. These pieces of metal are precision engineered — to thousands of a millimetre — to ensure that they hang exactly in place.
As can be seen in the photograph above, the colour works in its own right, visibly applied to the metal surface. However, given a blank background and enough light, the colour casts a diffuse reflection on to the space in between the bars. If two facing bars are finished in different colours opposing each other, the reflection of each interferes with its opposite to form a third colour, which often subtly changes in proportion to the quantity of its ‘parent’ colours (often the patterns taper along the inside metal surfaces).
When the piece is viewed as a whole, these interactions form a fascinating overall pattern within the bars. The photograph above is an example of this effect. It’s very clever – almost as if these industrial, inanimate objects have created their own artwork independently. Add the changing quality of natural light and these inanimate sculptures constantly evolve.
Rana has produced these large scale works for public spaces — one is on Regent Street — and other can be found in places such as health centres, probably a good choice as the pieces can be contemplated for a long time.
She also produces similarly geometrically orientated artworks in other materials — folding sheets of metal like origami and some amazing folding wood benches.
But Rana’s own story is also enthralling — and echoes some of the themes in the last blog post. She was born in rural Bangladesh but moved with her family to this country when she was eight, not being able to speak a word of English. She described how she may have expressed herself primarily through art in the period where she tried to catch up with the language — a skill she extremely modestly said she hadn’t yet fully mastered — don’t believe her, she has — I had a lovely, long conversation with her in the pub after the visit (which was so unpretentious that it ended with Rana pointing me in the right direction for the number 73 bus).
While Rana’s patterns are stark and geometrical, her studio had much human warmth, even eccentricity. There’s the evidence of her two young children’s about the place but it’s additionally home to two team members. One is Pierre, her French (I think) assistant who shares much of the donkey work of sanding and cutting metal. The other is Bob — a thoroughly down-to-earth, somewhat grizzled, East End bloke who, amongst other things, drills the keyholes in the metal so the works can be hung precisely.
It turned out Bob played another role in the Rana’s story – she’d actually bought the studio from him. They’d become acquainted while Rana was working in an artists’ co-operative studio in the building next door. Bob was looking to retire from his engineering business when, serendipitously, Rana was also looking for her own premises.
In a mutually beneficial arrangement, Bob sold his workshop to Rana but, realising that her artwork employed the use of some of his skills, he began to help out with the preparation. Some of Bob’s metal-working machines remain in the studio and he still pops in to help out a few days a week. He told me he has no idea about the artistic side of Rana’s work but perhaps a trace of his non-nonsense stoicism comes through in the minimalist designs, regardless?
As a result, the studio is an idiosyncratic combination of corners full of Bob’s tools, with the accretion of the detritus of years of use, and Rana’s bright, clean minimalist office and exhibition space. There are also areas of the studio where Rana gets thoroughly messy – I looked in the spraying room where the painting is done and I noticed shelves full of the Montana Gold spraycans I used in my own street art experiment.
Rana is a now a very successful artist, exhibiting at Bischoff/Weiss plus a gallery in Germany and in India, as well as the major art fairs, such as Frieze and the London Art Fair. I can’t help thinking her story, especially that of her studio, is something of a metaphor for how London has changed – and is changing – with artists moving into previously industrial areas of the capital. But in the case of Rana, she’s not displaced what existed before, but adapted it and worked with such an unlikely artist’s assistant as Bob, to create art that’s both new and inventive and also very reflective of its time.