Shaan Syed Presse Oliver Kielmayer: "Erkenntnis im Dunkeln" Kunst-Bulletin 10/2004 CO-OP, 2004 Oil on canvas, 200 x 240 cm THE CLEARING, 2004 Oil on canvas, 178 x 153 cm The Useless Stuff of Eliminative Spaces 2, 2004 Oil on canvas, 82 x 69 cm The Useless Stuff of Eliminative Spaces 1, 2004 Oil on canvas, 82 x 69 cm VASELIN TOWERS, 2004 Oil on canvas, 82 x 69 cm TENT, 2004 Oil on canvas, 137 x 122 cm DEER, 2003 Oil on canvas, 114 x 129.5 cm DOG IN DARK, 2003 Oil on canvas, 114 x 129.5 cm Cottage, 2003 Oil on canvas, 45 x 35 cm Forest, 2003 Oil on canvas, 76 x 91 cm STAG, 2003 Oil on canvas, 128 x 118 cm TWO DOGS, 2003 (DVD-still) Music by Steve Chatterton 35 mm to DVD, 30 seconds (looped) hand-drawn animation, black and white, Edition of 10 GIRL SMOKING, 2004 (DVD-still) DVD, 1 minute (looped) hand drawn animation, black and white, Sound, Edition of 10 In der laufenden Ausstellung wird der in Toronto lebende Künstler Shaan Syed (geb. 1975) mit Malerei und zwei gezeichneten Animationen vorgestellt. In seiner ersten Einzelausstellung ausserhalb Kanadas präsentiert Shaan Syed eine Werkgruppe von Nachtbildern, Nachtszenen erhellt von künstlichen Lichtquellen. Sein zeichnerisches Potential wird in den beiden klassischen Animationen "Two Dogs" und "Girl Smoking" sichtbar. Die Malerei von Shaan Syed ist seit seinem Aufenthalt im Herbst 2002 als Artist in Residence in der Stiftung Künstlerhaus Boswil auch in der Schweiz bei Künstlern, Sammlern und Kuratoren auf lebhaftes Interesse gestossen. Syed arbeitet ab September 2004 ein Jahr in London am Goldsmiths College (University of London) für ein Post-Graduate Diploma in Fine Art. Statement des Künstlers zu seiner neuen Werkgruppe: "After recently spending some time in a series of rural artist residencies I found myself re examining my ideas about landscape in painting . Surrounded by still environment, I found an elusive mystery in these settings that began to inform my work. Removed from the bustle of movement and activity, time seemed to stand still. Away from the ever-illuminated haze of the city, I became particularly fascinated by the landscape at night and how the blackness appeared to engulf everything into a deep void. Yet when caught under artificial light, space and objects glowed with a hallucinogenic clarity. While working in my studio at night, I would look out the window to see virtually nothing but various shades of black on black ...on black. Off in the distance a few twinkling spots of orange and yellow tungsten from neighbouring towns would shimmer. If a lone car snaked its way along the path outside, the entire landscape would be momentarily caught in an intense white light. On a night of thick fog and full moon, I would be enveloped by a silvery blue, all sense of self and space slipping away. Back home, I have continued looking at the landscapes with which I was most familiar. I have become drawn to pools of light and the way they seem to reveal the odd detritus only humans could leave behind". Biographie (pdf-Dokument) Home