For the American sculptor Donald Judd, simplicity focused
attention on the object in space: "It isn't necessary for a work
to have a lot of things to look at, to compare, to analyze one
by one, to contemplate. The thing as a whole, its quality whole,
is what is interesting. The main things are alone and are more
intense, clear, and powerful." These codes of conduct have
since come to serve an unlikely devotee of the minimal method.
Moving from figuration to a fascination with form, light, and
color, Bangladesh-born, London-based Rana Begum espouses
some of those same principles and pushes them further. She
chooses materials over subject matter, following Judd in "getting
rid of the things that people used to think were essential to art."
Begum argues that the removal of the motif allows for something
much more fundamental - the interplay of light and color
within a form.
...see the entire article in the print version of sept's Sculpture magazine.
No. 93, 2005. Resin on hazard tape and wood, 50 x 50 x 5.5 cm.
For the American sculptor Donald Judd, simplicity focused
attention on the object in space: "It isn't necessary for a work
to have a lot of things to look at, to compare, to analyze one
by one, to contemplate. The thing as a whole, its quality whole,
is what is interesting. The main things are alone and are more
intense, clear, and powerful." These codes of conduct have
since come to serve an unlikely devotee of the minimal method.
Moving from figuration to a fascination with form, light, and
color, Bangladesh-born, London-based Rana Begum espouses
some of those same principles and pushes them further. She
chooses materials over subject matter, following Judd in "getting
rid of the things that people used to think were essential to art."
Begum argues that the removal of the motif allows for something
much more fundamental - the interplay of light and color
within a form.
...see the entire article in the print version of sept's Sculpture magazine.
