Hosted on the sand at the Miami Beach EDITION hotel during Miami Art Week, the immersive gallery PLAY by American Express Platinum indulged in nostalgia as a force of inspiration. Unlike at traditional galleries, guests visiting PLAY were encouraged to touch the artwork within the exhibit—thanks to the fact that the participating artists had been tasked with reimagining toys from their past and bring them to life as stand-alone art pieces that were available to purchase. Among the talent involved, Kumkum Fernando, a Sri Lanka-born sculptural artist represented by Jonathan Levine Projects, created special pieces that encouraged guests to explore the ephemeral nature of art and nostalgia. “His ‘Tomorrow’ is a toy robot that sits at the intersection of art and play, with colorful hand-silk screened patterns and wooden shapes fastened together by magnets, inviting guests to play and assemble the robot in myriad ways,” explains Bess Spaeth, SVP, US Premium Products and Membership Rewards at American Express. We were able to sit down with Fernando for an exclusive conversation during art week to dive further into his piece “Tomorrow” and learn more about what the future holds.

MIAMI BEACH, FLORIDA – DECEMBER 07: Kumkum Fernando attends PLAY by American Express Platinum at The Miami Beach EDITION on December 07, 2023 in Miami Beach, Florida. (Photo by Bryan Bedder/Getty Images for American Express Platinum)

How did you get into this type of sculpting and art? What was the genesis for this all?

In short, my artistic journey began with mixed media collages. During one project, I explored the patterns of antique window grills documented on Saigon’s streets. As I arranged these elements, the shapes evolved into a figurative form. Witnessing this transformation, I turned a flat object into a three-dimensional shape, giving birth to one of my first characters. I named it “Lotus Face,” inspired by the lotus flower pattern adorning its face. Inspired by this, I made a conscious decision to infuse more figurative elements into my work. Since then, my focus has shifted to creating geometric sci-fi characters.

You’ve worked on huge installation pieces for the likes of Coachella, how was it recreating your work in a much smaller form that is available for sale?

Before Coachella, my artwork was typically small, and everything I created was available for sale. However, I had never undertaken such a large edition before. Preparing for all 50 editions posed a challenge because all my pieces are handmade. I didn’t want to cast or make the toy in resin; I wanted to stay true to my process and keep all editions handmade just like my previous work. To meet this demand, I collaborated with lacquer artisans from Vietnam who I worked closely with to produce all the editions for PLAY by American Express Platinum.

How did your partnership with American Express Platinum come to be?

It was great to be part of PLAY by American Express Platinum at Miami Art Week. Both American Express and PlayLab, Inc. granted me complete creative freedom to create “Tomorrow,” and I loved seeing the interactive installation that was inspired by my toy. When I first started out as an artist, it was my dream to work on projects where I have complete artistic freedom to bring my ideas to life. Being a part of this allowed me to do just that and it’s been something I used to only daydream about.

What do you think people took away from your art?

I think people had various interpretations; during the event a lot of them told me that they felt like a child playing around with the wooden magnetic blocks. They loved the fact that you could keep changing the shape of the robot. For me the intention was exactly that: every time you play with it, you can transform it into a different character, symbolizing a fresh start for the toy whenever you change its persona. That’s why I named it “Tomorrow.” Personally it’s a symbol for new beginnings.

What’s next for you in the future?

I have a few releases lined up and a few projects and shows down the pipeline; however, they are not set in stone. I will be in touch to share with you the new developments as they unfold.

The 2023 Coachella Valley Music and Arts Festival opened its doors to immerse visitors in a world of vibrant art installations. Among the four new designers joining this year’s art program is Kumkum Fernando, a Sri Lankan-born artist known for his colorful sculptures of gods and robots. Fernando’s newly commissioned works were created specifically for the California festival to add a touch of Hindu mythology and retro-futurism to the iconic Coachella landscape.

‘The fusion of Asian cultural elements with futuristic designs in my sculptures is a natural expression of my artistic vision. I am not attempting to impose any particular meaning or message onto my work, but rather to explore the possibilities of combining different elements to create something entirely new and unique,’ Kumkum Fernando tells designboom. Dressed in bright tones and playful patterns, the otherworldly totemic creatures are titled ‘The Messengers’ and deliver their own message to each passerby. ‘I anticipate that (visitors) will experience the artwork in their own unique way. Some may be drawn to the intricate details and vibrant colors, while others may be captivated by the underlying themes and cultural references.’ the artist explains. To learn more about Fernando’s giant robot god sculptures, his sources of inspiration, and his artistic process, read the full interview below.

designboom (DB): Can you tell us a little about your installation for Coachella 2023?

Kumkum Fernando (KF): My installations at the festival draw a parallel resemblance to my previous sculptures of gods and robots. These new works are by far the biggest I have ever dreamt of making. The festival will showcase figurines, which I have created solely for the Coachella Valley Music and Arts Festival. The inspiration for these works comes from a combination of South Asian art/architecture, Hindu mythology, personal memories, as well as imagery of retro-futurism.

DB: You are known to transform found objects/ motifs into artworks. Can you tell us a little about your artistic process? How do you incorporate your background into your work?

KF: My artistic process mainly involves repurposing old motifs, stories and designs into futuristic/ surreal forms, giving them a new life. As part of this process, I collect and document the shapes and motifs that capture my imagination. As I arrange shapes and patterns in specific ways, a face often emerges, serving as the foundation of my creative process. Each of my works begins with this as the starting point and gradually evolves as the design process unfolds, eventually taking the form of a complete being. Growing up, I was steeped in the rich cultural traditions of Sri Lanka, where I was exposed to ancient folk tales, myths of flying machines, and stories of divine and demonic beings from other realms. These childhood experiences along with my personal stories continue to inform and inspire my creative process, as I draw upon these narratives to shape and give meaning to my art.

DB: In your work, one finds a series of futuristic robot-like sculptures that are influenced by the colors, shapes and ornaments of Sri Lankan and other Asian Cultures. Is this a conscious attempt to combine the past and the future?

KF: My intention is not to force a connection between the past and the future, but rather to create a new world where they can coexist. The fusion of Asian cultural elements with futuristic designs in my sculptures is a natural expression of my artistic vision. I am not attempting to impose any particular meaning or message onto my work, but rather to explore the possibilities of combining different elements to create something entirely new and unique.

DB: Many of your works are presented together with your poems. What does poetry mean to you? Will the Coachella piece be accompanied by a poem, too?

KF: My writings for the characters I make are more like a window into a moment of their lives. The words together with the sculpture hope to capture the feeling that I am trying to create for the world the characters live in.

DB: What do you hope your new installation will bring to this year’s Coachella? How do you expect visitors to interact with it / what do you think they will take away from it?

KF: The stories behind some of the artworks that will be showcased this year are very personal to me.

As for how visitors will interact with the installation, I anticipate that they will experience the artwork in their own unique way. Some may be drawn to the intricate details and vibrant colors, while others may be captivated by the underlying themes and cultural references. I hope that due to the immense scale of these works, the audience experiences a sense of awe and feels transported to a world where these characters exist in their midst.

Kumkum Fernando: The Messengers at Coachella

By Valerie Milano, The Hollywood Times

Indio, CA (The Hollywood Times) 4/19/23 – Among the beautifully stunning art installations at the 2023 Coachella festival, the tallest and most prominent piece by far is a collection of 3 sculptures entitled The Messengers conceptualized and created by the talented Kumkum Fernando.

With a height that ranges between 65-75 feet tall, The Messengers stretch to the heavens and have been a pleasantly striking and powerful addition to the landscape of the eclectic concert. When chatting with THT, Kumkum describes the planning stages of bringing the vision of The Messengers to life. He recalls, “We worked with Paul Tollett directly–Coachella has a badass production team that did an awesome job. So, they did the fabrication part of the piece, and I did the 3D rendering and selected the colors. Because I was not on site, I didn’t really see the artwork until a week before the festival, so I worked online with the art department and that is how it worked. I’ve never worked like that before, because I am really hands-on with my work. At some points, I was nervous because I have never done work like this before- working from a distance, but Paul just did an awesome job and I’m really happy with it.”

The Messengers represent something extremely personal to the artist. Kumkum reveals, “The Messenger in the center, the tallest one, is named after my son. My son lives away from me in Germany while I live in Vietnam. I had done a similar model before, and it was called Ilo the Dreamer. For Coachella, I wanted to bring back that model and revisit that because it means a lot to me because it is my son. In this case, I wanted to give [the Messenger] a jet pack that symbolically means that my son can come to me whenever he wants. It is also dedicated to those people that cannot be with us at this very moment; it was kind of dedicated to love.”

Originally featured in The Hollywood Times

The monolithic sculptures of Kumkum Fernando look to the future in their design language but pay homage to the past in their handmade construction and collaboration with Southeast Asian artisans.  The forms revel in their celebration of ritual as they are born from a labor intensive and secretive process that transforms robots into idols.

Kumkum’s sculptures are mixed media, however, the main material is wood. The blueprint for each piece is rendered into individual building blocks, which are subsequently hand-sanded and constructed. Color and silk screen designs are added to bring vibrancy and depth to the blocks. The pieces are then finished with a high-gloss lacquer by southeast Asian artisans. The lacquering process is quite secretive; Kumkum has been working with the artisans for years, but they have never completely revealed their techniques.

How does the philosophy of your gallery align with the vision of VOLTA?

Jonathan Levine Projects is committed to cutting edge art, which is something I’ve always found VOLTA to celebrate. I also appreciate how VOLTA, similar to my gallery, provides exhibition opportunities for emerging artists.

Is this your first year exhibiting with VOLTA?

This is the third time Jonathan LeVine Projects is exhibiting at VOLTA NY. Our first time was in 2011 with an exhibition of work by Jim Houser. We returned in 2014 with work by Pose. This is not our first time exhibiting at VOLTA NY, however, it’s exciting to return after eight years. I look forward to being back in New York and seeing many familiar faces.

In what ways are your exhibiting artists engaging with VOLTA’s messaging of “Connect,” “Collect,” and “Discover?”

Our booth is a solo presentation of work by Kumkum Fernando and his process is the epitome of VOLTA’s messaging – “Connect. Collect. Discover.” He was born in Sri Lanka and is the son of an antiques and curiosities collector. As far back as he can remember, Kumkum has been a collector as well: of stones, spoons, statues, masks, and other ancient marvels and treasures. From his home base in Vietnam, he scours the streets for found materials and uses them as a source of inspiration. By repurposing their aesthetic, he creates monolith sculptures that connect to the past, yet present fantastical visions of the future: mighty robots, flying contraptions and mystical beings. In addition, Kumkum is always discovering and playing with new techniques. For example, all of his paint colors are custom made, sometimes discovering over 70 unique colors before selecting the perfect hue.

The 2022 edition of VOLTA New York is particularly special because it celebrates the fair’s return to the city after an unprecedented season of change. The international restrictions of the pandemic were deeply felt and presented opportunities to develop new programming and methods of engagement that may never have been considered otherwise. In what ways has the programming of your gallery evolved? How did you maintain a connection with your collectors and artists? Will these changes remain a part of your gallery moving forward?

In 2019, Jonathan LeVine Projects transitioned from a brick-and-mortar gallery to a virtual exhibition platform. When the pandemic hit we were luckily already established as a digital space for exhibiting and selling fine art. Over the last two years we’ve refined our ability to recreate a gallery experience solely through virtual interactions. For example, we developed a website dedicated to Kumkum Fernando that includes images, videos and descriptions not only of his work, but of his entire artistic process from inspiration to final creation. The goal is for visitors of the site to develop a connection to the work by getting a first-hand look inside his practice, pulling back the curtain so to speak. This is something that will continue to be part of our programming moving forward. It will make our in-person exhibitions, like VOLTA NY, a sought after opportunity.

How did you determine which artists to exhibit at VOLTA?

I began working with Kumkum Fernando in early 2021 when we started planning his first solo exhibition at the gallery. Then the pandemic happened and everything went on pause. Choosing to exhibit his work at VOLTA NY was a no brainer because he had these amazing pieces that had waited years to be shown, in addition to new works.Also, following the success of his March 2022 online exhibition Temples, Gods and Robots, I had to take this opportunity for his work to be seen in-person by art enthusiasts and collectors from around the world.

What dialogue does the work of Kumkum Fernando engage in? How does it fit within the greater narrative of the other artists in your roster?

Kumkum’s sculptures are vibrant deities that evoke a unique spiritualism. They appear as toys from a distance, however, upon closer examination, they transform into idols. I find the narrative of transformation within sculpture to be something I’m drawn to. For example, I gave Haroshi his first solo show in New York City back in 2011 and exhibited his work many times after that. At first glance, his sculptures appear like everyday objects. Upon closer inspection it’s revealed that each piece is composed of layered skateboard decks. More recently, I’ve exhibited work by the New York based artist Ronald Gonzalez. His sculptures transform found objects into human busts in an attempt to capture the darker workings of the human soul. Both Haroshi and Gonzalez literally transform their materials to create something new. Kumkum transforms the aesthetics of his source of inspiration. The traditional objects that inspire him, such as window patterns from ancient temples, are given new life within his cosmic monoliths.

How do their choices of material reflect those themes?

Kumkum’s sculptures are mixed media, however, the main material is wood. The blueprint for each piece is rendered into individual building blocks, which are subsequently hand-sanded and constructed. Color and silk screen designs are added to bring vibrancy and depth to the blocks. The pieces are then finished with a high-gloss lacquer by southeast Asian artisans. The lacquering process is quite secretive; Kumkum has been working with the artisans for years, but they have never completely revealed their techniques. The creation of one piece is a very labor intensive process and each phase is like its own ritual. I think this ties back to the feeling of spiritualism his work evokes. It’s also a nod to the indigenous peoples who created his sources of inspiration – jewelry, rugs, ornate doors, etc. – all of which were made in a ceremonial manner.

What curatorial considerations were made in preparation for VOLTA?

Kumkum played a vital role in curating this booth. Everything from the size of the sculptures, the pedestal placement, down to the lighting is very intentional. We’re exhibiting ten sculptures, all of which are two to three feet tall, in a 200 square foot booth. At first I thought it was too much work for that small of a space. But then Kumkum showed me digital renderings of his intended design and they were impactful. The works unapologetically consume the booth, like a mini robot army preparing for battle.

What message do you hope to leave visitors with (both those who are experiencing the fair in person and our readers who are exploring the work remotely?)

I hope visitors are left knowing more about Kumkum Fernando and eager to see more from him. Aesthetically, his work is amazing and can stand on its own. But a deeper appreciation is revealed when you learn about his background and process as a true artisan.

Source: Installation Magazine