- A look at Firi Rahman’s art installations at Lunuganga
In celebration of the 75th anniversary of Geoffrey Bawa’s Lunuganga, the Geoffrey Bawa Trust launched the ‘To Lunuganga’ programme. The initiative spotlighted a series of art installations that blend art, architecture, and ecology. Among these, Firi Rahman’s site-specific installation, ‘In between: the Existence of Firdaus’, stands out as a deeply reflective and personal engagement with nature and space.
Geoffrey Bawa Trust Assistant Curator Aneesha Mustachi shared insights into why Firi Rahman was chosen for this significant project. “We have always focused on the intersection of art, architecture, and ecology, and Firi’s work embodies these themes perfectly. His use of natural materials and architectural forms reflects an ecological consciousness while maintaining an architectural quality,” she explained. Rahman’s installation, consisting of the outdoor work ‘Perch’ and the indoor drawings ‘In between: the Existence of Firdaus’, merges seamlessly with the garden’s environment, embodying a poetic interplay of nature and structure.
Mustachi elaborated on the selection process, emphasising the importance of working with local artists. “Firi’s architectural sensibility and his deep connection to the local context made him an ideal candidate. His previous works have always explored boundaries between the inside and outside, aligning perfectly with our vision for this project.”
Continuing Bawa’s legacy
Geoffrey Bawa Trust Chief Curator Shayari De Silva reflected on the trust’s approach to continuing Geoffrey Bawa’s legacy. “The trust’s mandate is not about preserving a static legacy but about evolving Bawa’s principles of integrating art, architecture, and ecology. Projects like Firi’s installation resonate with what mattered to Bawa – the seamless blend of art and architecture, and the thoughtful manipulation of nature.”
Rahman’s installation at Lunuganga is a testament to this philosophy. The outdoor piece, ‘Perch’, crafted from cinnamon sticks with steel supports, is positioned thoughtfully in the Field of Jars. This installation, spanning 1,176 inches in length, subtly disrupts and enhances the landscape, inviting viewers to consider the interplay between the natural and the constructed. “I wanted to create something that blends into the environment, respecting both the space and the natural materials. It’s about finding a balance between adding to the space and letting it speak for itself,” Rahman shared.
The indoor component, ‘In between: the Existence of Firdaus’, consists of ten ink and acrylic drawings on cold-pressed watercolour paper. These pieces, displayed in the Sandella, echo Rahman’s introspective journey, drawing parallels between his own experiences and the tranquil, yet fragmented sceneries of Colombo. “The installation was a deeply reflective process for me. It connects my personal memories with the garden space, much like Bawa’s vision of creating a paradise,” Rahman explained.
Collaborative synergy
The trust’s collaboration with Rahman was marked by mutual respect and a shared vision. “Working with Firi was an enriching experience. His installation process was meticulous, ensuring that every element respected the existing environment. Whether it was balancing the weight of the outdoor installation or carefully placing the drawings, his attention to detail was remarkable,” Mustachi noted.
De Silva emphasised the trust’s commitment to fostering meaningful artist engagements. “When we choose or invite artists, we are very careful. These projects often take about two years to develop, and they involve a lot of nuanced elements. Our goal is to find artists who understand the space and context and can work within these parameters while bringing their unique vision.”
The challenges and triumphs of installation
Installing an art project in a space as unique and historic as Lunuganga presents its own set of challenges. “Installation, especially in a location like Lunuganga, is a difficult task. We have to be extremely careful about how we install each piece, ensuring it doesn’t harm the natural environment,” Mustachi explained. “We wouldn’t put too much weight on a tree or place anything in a way that disrupts the natural balance.”
Despite these challenges, the trust found the experience rewarding. “It’s a delicate balance, but projects like Firi’s prove that it’s possible to achieve harmony between art and nature,” Mustachi added. Rahman’s meticulous approach to his installation ensured that each element was carefully considered and placed, creating a seamless integration with the garden.
Resonating with Bawa’s philosophy
Rahman’s installation not only honours Bawa’s legacy but also enhances the cultural landscape of Lunuganga. “I think Bawa would have absolutely loved this project because it encompasses so much of what interested him – the integration of art and architecture, the exploration of boundaries, and the thoughtful engagement with nature,” De Silva reflected.
The trust’s dedication to maintaining the garden’s integrity while inviting innovative artistic expressions is evident in their approach to installations. “We are a small team, and our work involves a lot of careful planning. We have to be mindful of how we install artworks, ensuring that they don’t disrupt the natural environment,” Mustachi explained.
Rahman’s installation at Lunuganga is a vivid example of this harmonious blend. By using natural materials like cinnamon sticks and integrating his drawings into the garden’s architectural framework, Rahman creates a dialogue between the viewer, the artwork, and the environment. His work invites contemplation, urging visitors to consider their relationship with nature and the urban landscape.
Fostering artistic excellence
As part of the ‘To Lunuganga’ programme, Rahman’s installation celebrates the enduring legacy of Geoffrey Bawa while pushing the boundaries of contemporary art. “This project has opened up new opportunities for me and has been a significant learning experience. It’s about creating something meaningful that resonates with the space and its history,” Rahman shared.
The trust’s approach to selecting and working with artists is crucial to the success of these projects. “We are quite tactical about finding people who understand the space and context. Our projects are unusual for the art world because they often take two years to develop, and there’s no real brief. It’s about responding to the space and the artist’s needs,” De Silva explained.
Looking forward
Rahman’s installation at Lunuganga is a profound exploration of the intersections between art, architecture, and ecology. Through his thoughtful and reflective approach, Rahman not only honours Geoffrey Bawa’s vision but also brings a fresh perspective to the historic garden. The Geoffrey Bawa Trust’s commitment to fostering such meaningful engagements ensures that Bawa’s legacy continues to inspire and evolve, bridging the past and the present in a harmonious blend of art and nature.
As the ‘To Lunuganga’ programme continues, the trust remains dedicated to inviting artists who can bring new insights and creativity to Lunuganga. “We hope to continue finding artists who resonate with Bawa’s philosophy and can contribute to the ongoing dialogue between art, architecture, and nature,” De Silva concluded. Through these collaborative efforts, the Geoffrey Bawa Trust ensures that Lunuganga remains a vibrant and evolving testament to Bawa’s enduring legacy.