COLOGNE.- Rana Begum‘s second exhibition at Galerie Christian Lethert showcases the London artist‘s most recent body of works. With a varied selection of pieces which blur the line between painting, sculpture and architecture, this exhibition demonstrates Begum’s keen ability to blend materiality and colour with subtle nuances of light and shadow.

Folded steel sculptures are dispersed among three large works made from powder-coated aluminium box sections. These box works, painted in Begum’s trademark vibrant colours, entice the viewer, prompting closer inspection before revealing how light and colour blend to create a perfect gradient. These works draw inspiration not only from Minimalism but also from the stark, bold shapes of modernist architecture. Begum’s exploration into the relationship between colour, space, light and repetition is made manifest in the multi-part works on MDF and tracing paper displayed in the gallery’s back room. In the front room, Begum’s artist residency with Tate St.Ives at Porthmeor Studios, which took place this spring, materialises as an installation. These plaster-cast floats reference both the sculpture of Barbara Hepworth and St Ives’ former identity as a fishing village while also continuing to explore the interplay of light and form.

Born in 1977 in Sylhet, Bangladesh, Begum lives in London. In 2017 she received the prestigious Abraaj Group Art Prize. Her first museum solo exhibition Space Colour Light opened at the Sainsbury Centre for Visual Arts in May and is currently on view at Djanogly Gallery in Nottingham until Sunday 30 September. Begum‘s work is also part of the Frieze Sculpture Exhibition in Regents Park, open until Sunday 7 October.

Galerie Christian Lethert is also presenting Winston Roeth’s new catalog 24 hours a day as well as a selection of paintings by the american artist.

For the first time, the catalog offers a detailed overview of the various groups of works and of Winston Roeth’s paintings created between 2001 and 2017. Tom Moore, who has documented the artist‘s work photographically for years and knows how to capture the colour spectrum and texture of the works, is to thank for the excellent photographs. The catalog features inspiring and concise texts by i.a. Dr. Jörg Daur from the Museum Wiesbaden, who concludes his nuanced analysis as followed: >Winston Roeth’s painting is like the examination of colour: colour tone, colour space, application of colour and the surface quality of the support material constantly produce new variations, some of whose subtle differences only become apparent when viewed repeatedly. Light is of central importance - the way it shimmers, in the movement of the eye or even of the viewer, but above all also in the works themselves.< The selection of works shows that Winston Roeth reduces the painterly complexity as far as possible to a flat, geometric form of painting, he opens up a subtle and sensitive structure of tension in spite of or precisely through this reduction. He investigates every colour nuance until it attains the necessary immediacy, and he instinctively implements the interplay of colour, form, lines and planes to evoke an abundance of sensations.

Winston Roeth, born in Chicago in 1945, is based in Beacon NY and Waldoboro Maine. He has exhibited extenisvely and his work is in many important collections, including the Museum of Modern Art, NYC, the Albright Knox Museum, Buffalo NY, the Fogg Art Museum (Harvard), the Museum Wiesbaden, the Kunstraum Alexander Bürkle, Freiburg and the celebrated Panza Collection.