Rana Begum's distinct language of minimalism

In her ongoing solo in Mumbai, the artist showcases specific strands of her practice through new relief panels

- Anindo Sen

At the Jhaveri Contemporary, Mumbai, you come across a finely measured study in abstract minimalism in Bangladesh-born Rana Begum's eponymously titled solo. For those who follow abstraction, this show—much like artist Prabhavathi Meppayil's austere contemplations showcased at the Mumbai-based gallery earlier—would offer much to think about. The space seems to have transformed with this show, which opened on 9 January as part of the annual Mumbai Gallery Weekend. Meppayil's solemn, mostly white and bare, sculptural paintings seem to have given way to Begum's forms with soft, blooming hues. In visual effect, it feels like winter is turning to spring.

The artist, who currently lives and works in London, is no stranger to Jhaveri Contemporary; this is her fourth solo there in 13 years. Her debut in 2011, titled The Folded Page, consisted of wall-based painted metal sculptures, which were inspired by urban environments and furniture. And her second show in 2015, Towards an Infinite Geometry, featured triangular grids, mesh-based works, and colour drawings on paper, which explored the extrapolated possibilities of geometric shapes and patterns. Her third showing in 2019, on the other hand, was spatially more expansive.