May/June2015
Interviews
Rameen Ahmed
Interviews
Rameen Ahmed
We could call her art “jewelry,” but Rameen Ahmed refers to her designs as “wearable art” – and with good reason. Her designs are elegant and refined, and the pieces are experienced more as sculpture than as what we typically think of as jewelry. Here Ahmed tells us about her journey as an artist, and about her artistic goals and processes.
Rameen Ahmed_photo by Dominic Arizona Bonucelli
SAN: You are originally from of Bangladesh. Can you give us a brief account of how you started life on the other side of the planet and ended up in Tucson, Arizona?
Rameen Ahmed: I came to the US to study architecture. Paolo Soleri’s Arcosanti brought me to Arizona and the U of A’s masters program to Tucson.
SAN: You were educated as an architect and worked in that field before becoming a metals artist. What do you consider your most important personal achievement as an architect?
RA: I never registered as a licensed architect, so cannot be put in the same group as architects! As a designer of buildings and environments, I’d have to say the 30 or so traditional homes that were modernized for the Tohono O’odham Nation. These were homes without running water, sewer or electricity and in most cases without any bathrooms. The goal was to maintain their traditional spatial use while providing health and safety upgrades. I was fortunate to be allowed to visit many remote parts of the community, interact with families and their way of living in the desert and help provide modern amenities.
SAN: How did you discover metal arts and how did you decide to transition to this form of artistic expression?
RA: I took a class in metalsmith as a way to explore a new creative outlet. First week in class, I realized that this was what I wanted to do. It was a perfect mixture of my design background and creative ‘making’. It still took about 4 more years to completely transition away from architecture. (click on all images to enlarge)
Rameen Ahmed: I came to the US to study architecture. Paolo Soleri’s Arcosanti brought me to Arizona and the U of A’s masters program to Tucson.
SAN: You were educated as an architect and worked in that field before becoming a metals artist. What do you consider your most important personal achievement as an architect?
RA: I never registered as a licensed architect, so cannot be put in the same group as architects! As a designer of buildings and environments, I’d have to say the 30 or so traditional homes that were modernized for the Tohono O’odham Nation. These were homes without running water, sewer or electricity and in most cases without any bathrooms. The goal was to maintain their traditional spatial use while providing health and safety upgrades. I was fortunate to be allowed to visit many remote parts of the community, interact with families and their way of living in the desert and help provide modern amenities.
SAN: How did you discover metal arts and how did you decide to transition to this form of artistic expression?
RA: I took a class in metalsmith as a way to explore a new creative outlet. First week in class, I realized that this was what I wanted to do. It was a perfect mixture of my design background and creative ‘making’. It still took about 4 more years to completely transition away from architecture. (click on all images to enlarge)
RAhmed_Earrings, Louis Kahn Revisited Series_
SAN: You have written about the modernist influence of Louis I. Kahn’s National Assembly Building in Dhaka, Bangladesh, on your emergence as an architect and artist. You’ve also written about the influence of tribal designs from both south Asia and North America on your work. Please tell us about how tribal designs influenced you, and how you integrated the tribal designs with modernist design.
RA: Even though it is who I am, I have a difficult time articulating it succinctly. When I was first learning at the studio of local metalsmith extraordinaire, Jude Clarke, I remember having a discussion about my work. Despite my architectural background everything I was making was organic. Especially in the beginning, I put the restraining affects of structure/composition aside and was playing with my lifelong love of tribal jewelry – while also learning the malleability and limits of my new medium - although some tribal jewelry by necessity can be simple and aesthetically ‘modern.’ Of course, now ‘modern’ has its own iconic status, and I do not wish to stomp on any toes. Hence, I call my work ‘contemporary’- as in ‘current’ time. However you want to define it, over time, I think these two aspects have come together. So you may see a piece with very controlled geometry with an unexpected sparkle, color, texture or dangle. Some pieces may have more of the one or the other. Designing in my head is a mixture of these two underlying dichotomies, but the final piece may take on a form of its own that satisfies my aesthetics and functionality – wearable art.
RA: Even though it is who I am, I have a difficult time articulating it succinctly. When I was first learning at the studio of local metalsmith extraordinaire, Jude Clarke, I remember having a discussion about my work. Despite my architectural background everything I was making was organic. Especially in the beginning, I put the restraining affects of structure/composition aside and was playing with my lifelong love of tribal jewelry – while also learning the malleability and limits of my new medium - although some tribal jewelry by necessity can be simple and aesthetically ‘modern.’ Of course, now ‘modern’ has its own iconic status, and I do not wish to stomp on any toes. Hence, I call my work ‘contemporary’- as in ‘current’ time. However you want to define it, over time, I think these two aspects have come together. So you may see a piece with very controlled geometry with an unexpected sparkle, color, texture or dangle. Some pieces may have more of the one or the other. Designing in my head is a mixture of these two underlying dichotomies, but the final piece may take on a form of its own that satisfies my aesthetics and functionality – wearable art.
SAN: We’d like to know more about your artistic vision of design and physical movement. You even have a series of works titled Mobile Series. You’ve used the phrase “liquid grace” to describe your work which also suggests movement. Please tell us more about the integration of movement with three-dimensional design.
RA: To me, an important part of architecture is experiencing the designed environment through spatial movement and visual/tactile interaction. I try to express that feeling within a much reduced scale and by making the piece moveable. Of course, I look to Calder for inspiration and strive for his simple elegance. In some of my pieces the movement itself creates whimsical vignettes, in others different views (elevations) are very controlled geometrical presentations – all occurring on the body as adornment or off the body as sculpture. The challenging part is making them anthropomorphically wearable, even if barely in some cases!!!
RA: To me, an important part of architecture is experiencing the designed environment through spatial movement and visual/tactile interaction. I try to express that feeling within a much reduced scale and by making the piece moveable. Of course, I look to Calder for inspiration and strive for his simple elegance. In some of my pieces the movement itself creates whimsical vignettes, in others different views (elevations) are very controlled geometrical presentations – all occurring on the body as adornment or off the body as sculpture. The challenging part is making them anthropomorphically wearable, even if barely in some cases!!!
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Mobile Series
Neckpieces by Rameen Ahmed Mobile Series 12 (left) Mobile Series 13 (above) Mobile Series 13 (right) |
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RAhmed_Mobile Series 12_ Cindy B. Monroy Photo
SAN: Please tell us about your process. Are you mainly using fabrication techniques? Mainly cold connections? or do you do any hot connections (soldering)?
RA: Mostly hot connections: forming, fabricating & soldering.
SAN: Do you primarily use silver, stainless steel or some other type of metal? It appears that bead shapes take a secondary role in your work, and those “beads” look like different colors of fresh-water pearls or maybe occasionally some turquoise. Do these statements accurately describe the materials you use?
RA: Primarily I use sterling silver. As you noticed, I have accents of brass, copper, gold, stainless steel, mild steel and other ‘found’ objects. For additional color, I sometimes use pearls, turquoise, precious/semi-precious stones. I do have a love affair with pearls, something very mysterious, luscious and organic against the juxtaposition of geometry/architectural vocabulary. I grew up with river and salt water pearls (Bangladesh is a delta in the Bay of Bengal), although they were not as socially coveted in the past. Pearls also come in shapes (natural or man-made) that work within my preferred geometry.
RA: Mostly hot connections: forming, fabricating & soldering.
SAN: Do you primarily use silver, stainless steel or some other type of metal? It appears that bead shapes take a secondary role in your work, and those “beads” look like different colors of fresh-water pearls or maybe occasionally some turquoise. Do these statements accurately describe the materials you use?
RA: Primarily I use sterling silver. As you noticed, I have accents of brass, copper, gold, stainless steel, mild steel and other ‘found’ objects. For additional color, I sometimes use pearls, turquoise, precious/semi-precious stones. I do have a love affair with pearls, something very mysterious, luscious and organic against the juxtaposition of geometry/architectural vocabulary. I grew up with river and salt water pearls (Bangladesh is a delta in the Bay of Bengal), although they were not as socially coveted in the past. Pearls also come in shapes (natural or man-made) that work within my preferred geometry.
RAhmed_Choker, from Circles & Squares VII_
SAN: Are you teaching metal arts anywhere now or in the near future?
RA: Only when I’m teaching cold connection sculpture to my school aged students. Being mostly self-taught and still learning/experimenting, I feel I do not have the authority or experience to teach metalsmith yet.
SAN: Are you showing work anywhere in Tucson?
RA: Not since Obsidian Gallery closed last year! I do participate in juried/invited shows. Currently at, Sonoran Desert: Large & Small, Juried Exhibition, Feb.-Apr., Tohono Chul Park. I like participating in select Pop Up Shows like Tucson Modernism, Tucson Museum of Art Contemporary Art Society. Tucson Sculpture Festival is something I look forward to every spring.
SAN: Do you intend to continue exploring these current themes in your work or do you foresee any significant changes?
RA: I live within the duality of function versus art. I enjoy making both kinds: pieces that people love wearing every day and one-of-a-kind pieces that turn your head as the beginning of a deeper conversation. So far, I have been able to balance both, along with teaching fine arts! As an artist, I really don’t know where the next inspiration may lead... I’m always open, even if it takes many years to finally manifest.
RA: Only when I’m teaching cold connection sculpture to my school aged students. Being mostly self-taught and still learning/experimenting, I feel I do not have the authority or experience to teach metalsmith yet.
SAN: Are you showing work anywhere in Tucson?
RA: Not since Obsidian Gallery closed last year! I do participate in juried/invited shows. Currently at, Sonoran Desert: Large & Small, Juried Exhibition, Feb.-Apr., Tohono Chul Park. I like participating in select Pop Up Shows like Tucson Modernism, Tucson Museum of Art Contemporary Art Society. Tucson Sculpture Festival is something I look forward to every spring.
SAN: Do you intend to continue exploring these current themes in your work or do you foresee any significant changes?
RA: I live within the duality of function versus art. I enjoy making both kinds: pieces that people love wearing every day and one-of-a-kind pieces that turn your head as the beginning of a deeper conversation. So far, I have been able to balance both, along with teaching fine arts! As an artist, I really don’t know where the next inspiration may lead... I’m always open, even if it takes many years to finally manifest.
RAhmed_Mobile Series_ photo by Dominic Arizona Bonucelli
SAN: Do you have a favorite piece that you just couldn’t let go of, and decided to keep and wear yourself? I think that would be a temptation.
RA: A good lead in... yes!! I have a piece or two that were initial milestones generating new explorations along with very emotional interpolations!
SAN: Here’s a question I’m asking every artist/interviewee. What do you think would make life better for Sonoran bioregion and Tucson artists?
RA: This is opening a can of worms! I am loving the urban renewal and rejuvenation that is taking place in downtown Tucson. As with most urban planning initiatives the city has invested in the transportation infrastructure, namely the streetcar and parking garages/meters, and has been successful in attracting the entertainment sector. Private and dedicated Non-Profit initiatives, along with the city’s, have certainly created valuable cultural anchors. Especially the local, sustainable, artisan food revolution reflected in the restaurants/bars is delightful. Compared to the 1990’s the changes are phenomenal.
However, Tucson has a very unique reputation as an arts and cultural destination – especially downtown and the warehouse district. Special care has to be taken about the gentrification that eradicates the artists/creative types that used to incubate in these former under-developed spaces. It is also alarming to see most of the galleries/art related establishments disappearing from downtown, a few gems are hanging on at the periphery. Obsidian Gallery is not only a personal loss, but also a loss for southern Arizona. As an established destination for studio jewelry, it was part of a handful of galleries known nationally along with places like New York City, San Francisco, Santa Fe etc. Krikawa Gallery has stepped in to take up the challenge, but we need more and of different types. We especially need more working studios, creative workspaces, in addition to retail galleries to continue the richness of cultural and economic diversity that makes a ‘place’ livable & enticing. I am cautiously hopeful.
See more of Rameen Ahmed’s work at: http://www.rameenahmeddesigns.com/
RA: A good lead in... yes!! I have a piece or two that were initial milestones generating new explorations along with very emotional interpolations!
SAN: Here’s a question I’m asking every artist/interviewee. What do you think would make life better for Sonoran bioregion and Tucson artists?
RA: This is opening a can of worms! I am loving the urban renewal and rejuvenation that is taking place in downtown Tucson. As with most urban planning initiatives the city has invested in the transportation infrastructure, namely the streetcar and parking garages/meters, and has been successful in attracting the entertainment sector. Private and dedicated Non-Profit initiatives, along with the city’s, have certainly created valuable cultural anchors. Especially the local, sustainable, artisan food revolution reflected in the restaurants/bars is delightful. Compared to the 1990’s the changes are phenomenal.
However, Tucson has a very unique reputation as an arts and cultural destination – especially downtown and the warehouse district. Special care has to be taken about the gentrification that eradicates the artists/creative types that used to incubate in these former under-developed spaces. It is also alarming to see most of the galleries/art related establishments disappearing from downtown, a few gems are hanging on at the periphery. Obsidian Gallery is not only a personal loss, but also a loss for southern Arizona. As an established destination for studio jewelry, it was part of a handful of galleries known nationally along with places like New York City, San Francisco, Santa Fe etc. Krikawa Gallery has stepped in to take up the challenge, but we need more and of different types. We especially need more working studios, creative workspaces, in addition to retail galleries to continue the richness of cultural and economic diversity that makes a ‘place’ livable & enticing. I am cautiously hopeful.
See more of Rameen Ahmed’s work at: http://www.rameenahmeddesigns.com/
