Trash to Art
Rafza Rahaman Nehaul transforms everyday materials into art; pieces that reveal her ardour for sport and human rights.

CB: When did you first see yourself as an artist?

RRN: I’ve always been creative, from paper dolls, through convent school crèche competitions and creating collages, to imaginative projects that held the attention of math and science students.

CB: How do you define “structural art”?

RRN: Anything that is not 2D. It’s about layering. I use readily available materials such as natural fibres, crates, construction leftovers and other items deemed for landfills. Any of these can be used as my canvas; then I start to build. So I layer ending with a relief or structural piece.

CB: When did you first develop a fascination with re-usable/sustainable materials?

RRN: Anyone interested in the environment must be aware that using what is available is important. What else should one do with stuff, once its normal use has expired? I see texture and patterns in organic matter. Of course, not all material can be used; though, I have moved from being a nature lover (avid gardener) to becoming involved with nature, to the extent that I preserve items for use in my art.

Is there a message in your pieces?

Always. Some are very private, and help me deal with my emotions; some are very topical, such as treatment of women; others are a defence against the traumas of this world; and then there is cricket.

How do you choose your subjects?

Travel has a huge influence on me; it gives me the time to think, without worrying about the daily workings of life. Since I am making up for all the time I was unable to dedicate to my art (in previous years) there seems so much and so little time. Everything but everything can be a trigger.

Which collection are you most proud of? Why?

There were no collections ten years ago. And I have only recently started creating more than one piece in a particular subject. I am proud of each piece, even if it was a learning experience leading to another. For me, it’s not about being proud of a piece but thinking, “How did you do it? And where did you find the time?”

How does your love of education influence your art?

Education is the art of learning. So twofold, I am a student, as I learn from other artists, and teacher, as I impart knowledge gained from my own exploration. There is always a tale to tell from my pieces, or lesson to take away from my exhibitions. Many artists are not happy to share their individual stories, but my way of thinking is that ten artists with ten brushes and ten pots of yellow paint would each create differently.

What about the business side of art? What do you feel makes your work distinctive?

Tough one! I’m not a commercial artist. I create for me without considering salability. I am sure many of my pieces are not saleable. Some are on the walls of my home. I live on a beach in Barbados; so I have few walls. For me sale means making room for the next adventure. It is for others to decide whether my work is distinctive. I am too caught up in the doing.

Do you envision people wearing the jewellery you’ve crafted?

Since the pieces are larger than normal, wearing any piece for an evening out might be a tad bit dramatic. However, I can see them used in a photo shoot to dramatise a subject or make a social comment, or even used as a commercial boost for an item.

What was the creative process involved in your pendant collection?

This collection was called Joule. It began with a piece created quite a while ago. This piece, Sista Sista, is a manifestation of how I felt about crime against women in places like Serbia, Congo, Sudan and Afghanistan; one recalls the young woman incarcerated by her father in Belgium, and so on. I needed to release the pain I felt for these women, so I sought beauty—and created with colour, with glory, with love.

What has been the response to your work thus far?

Wow! This is where I must be diplomatic. Creativity comes with any territory undergoing great change—whether political, economic or social—since art is a medium of such expression. Art beyond a tourist product allows the artist to grow or evolve and carries the society with it. In a very conservative society growth is not as rapid, and acceptance of different is tough. My work has mostly been accepted and purchased by foreigners visiting our shores. Locally, my art is an enigma; but then there are those who appreciate my use of natural materials.

What do you feel is your ultimate role as an artist?

My art is about me—my passion, my subject, my execution. I am privileged at this stage of my life to have something that’s totally mine. To have a passion, and the time to indulge that passion. For this I thank my family. I wish this for everyone no matter what the genre of creativity, from the written word to cookie making.

I feel the need to encourage positive creativity, which celebrates our individuality. Self worth is hugely important for a healthy life. Most businesses are born out of passion. Most self employed women have started this way—from their home, with very little start up costs.

Where can your pieces be purchased?

My studio/gallery is at my home at 6 Brighton Beach, St. Michael, Barbados. I can be contacted via telephone at (246) 421 8188, or via email at rnehaul@caribsurf.com. I hope to bring a small exhibition to Trinidad in the New Year to coincide with the launch of my book.