Kumkum Fernando is an artist known for his unique "robot-like" characters, a style that blends intricate patterns, cultural iconography, and a deep sense of mythology. His work is a fusion of the traditional and the contemporary, drawing inspiration from the remnants of French-era architecture in Saigon, Sri Lankan masks, and Buddhist folklore. Fernando’s sculptures, made from repurposed materials, represent a conversation between history, identity, and transformation. Each piece is a reflection of his personal journey and his exploration of the intersection between mythological narratives and modern storytelling. The founder and curator of Method, Sahil Arora, has showcased his work for the first time in India—three times this year through group exhibitions Tomorrow’s Harvest and Portrait of a Time as well as at Art Mumbai 2024.
Kumkum Fernando
How did you first come up with the niche of your unique robot-like style?
I stumbled upon this style by accident. I used to make and design toys out of old discarded wood, and during that time, I became fascinated by something I noticed in the streets of Saigon—the remnants of French-era architecture visible in the gates and windows of old Saigonese houses. I began documenting and tracing these designs, eventually collecting a variety of intricate patterns.
One day, as I was experimenting with these patterns, I noticed that one combination resembled a face, while another looked like a form of a body. I spent months playing around with these ideas, eventually creating characters solely out of patterns on the computer. Over time, I decided to bring these designs into 3D form.The first character I made was Lotus Face. Its face was inspired by a lotus grill pattern that one of my team members discovered. The rest of the body was adorned with gate and grill designs from the patterns I had collected during this period. Later, I began exploring iconography from other cultures that fascinated me, expanding the visual language of my work.
Your work often incorporates historical and cultural references, like the remnants of French-era architecture, Sri Lankan masks, and Buddhist folklore. How do you weave these diverse influences into your sculptures, and what do they represent in the context of your larger narrative?
Much of what I incorporate into my work is deeply rooted in the gods, goddesses, ghosts, and giants of Hindu and Buddhist folklore that surrounded and fascinated me during my childhood. These stories and figures broadened my imagination, instilling a sense of wonder and connection to the mythological and spiritual world. They continue to inspire me today, serving as a foundation for my art, where I reinterpret these elements through a contemporary lens. My work is an exploration of identity, transformation, and connection, creating a bridge between the past and the future by blending the traditions I grew up with and the possibilities of modern storytelling.
Coachella 2023
Can you talk more about your process for sourcing and repurposing these materials, and how it influences the final sculptural piece?
My artworks reflect what I was deeply interested in during a specific time frame, which directly influences how I source and repurpose materials. If I’m fascinated by rug designs, I’ll delve into old patterns, while at other times, I might explore a new found treasure from a thrift store or search for antique objects with my studio assistant. The materials and ideas I gather organically come together, shaping the character of each piece. This process allows me to layer multiple meanings and personal references into the final sculptural form, making each piece a unique reflection of that moment in time.
How do you see the role of art in society today, especially when it comes to addressing complex themes like memory, history, and identity? Do you think art has the power to challenge societal perceptions or spark social change?
I absolutely believe that art has the power to spark social change. However, this is not my primary area of focus. My interest lies in mythology and imagination—art that taps into the world of the unknown and evokes curiosity. While my work doesn’t directly address societal issues, it invites viewers to explore new perspectives and question what lies beyond the familiar, which can also inspire deeper reflection and dialogue.
Looking ahead, what can we expect from you in 2025? Are there any upcoming projects or themes you’re particularly excited to explore next?
I currently have a few releases planned with the gallery that represents me, Jonathan LeVine Projects, as well as some outdoor pieces in the works. While I can't share the details just yet, I'm really excited about what's coming in the new year. I will definitely keep you guys in the loop when things come out.
Words Paridhi Badgotri
Date 05.12.2024