ZARINA KEYANI - 'SCAPE ARTIST

Zarina Keyani's current work is in paint and print.  Hailing from a multi-ethnic textile background, she is inspired by landscapes. She was recently shortlisted for the 'Neo Print Prize' and 'The Sunday Times Watercolour Competition' which is currently exhibiting at The Lightbox in Surrey.

( All pieces approx 14cm sq., black ink on paper. )

 

Interview with Zarina Keyani

What is the connection between these prints and the colour series - 'Landscape' - that preceded it?

The prints are further abstractions of paintings whose concepts originated in landscape. Known as the Landscape series, the paintings reference my experience of landscape as an interaction with colour, line and intersection. The prints in this selection are a microview of those original concepts, hence they continue to be known as Landscape. The monochromatic element of the prints is a further attempt at reduction. 

How do you feel about working with a single colour, rather than the full spectrum?

I have often worked with a single colour. With print its all about the tones and contrasts, which become more pronounced when colour is removed. In contrast, the paintings involve a range of colours.

How did you make these monoprints?

These are actually etchings using aluminium plates. The detail has been cut into the surface using acid. The plate is inked and then the image produced. Some of the prints were worked on two or three times to achieve the desired result.

Isn't it reductive, naming them 'landscapes'? Because the viewer's brain then tries to configure the images into something familiar. Is that acceptable?

I think its just as relevant as Monet naming his paintings of water lilies 'Water Lillies'. It is what they are, and the viewer is encouraged to see something relevant to them. It is the familiar, the known or the retrieved.

Are these in any way influenced by your textile work?

This seems to happen in a subconscious way, but the work often has the appearance of woven textiles. So I guess I am influenced to some extent.

What are the other influences on this series..?

I do like taking photographs of wherever I go, and I think this informs the work in a second-hand way. Its me looking through the viewfinder and being selective. Once I have an image I find it very hard to discard it even if its a bad image. It becomes part of a history.

ZARINA KEYANI'S WEBSITE

JAN MULDER - BACK TO BLACK

Below: Nachtbaum, 2011, diptych, 140 x 240cm, oil on linen

I met Dutch painter Jan Mulder at the group show 'Odyssey To The Orient', on the island of Paros, in Summer 2012. Amidst the many examples of his stunning colour work on display, were a couple of black and white paintings that contained a different kind of energy to the full-spectrum compositions. Jan has kindly allowed me to include the paintings here, and has also provided some new pieces to be previewed exclusively for MONOBLOG.      - Alexi K

Below: Nachtbaum, 2012, 140 x 120cm, oil on linen

Jan Mulder: ''What drives me to make black and white drawings / paintings?

Black & White: very pure, free of colour, it's memory, photography; reminiscent of the past, so present, vivid melancholy, prehistoric cave drawings, black & white dreams, consolation / comfort.  

I love black.

It's colour.

It's basic.

From black it starts.''

All images below: ink on paper, approx. 12 x 18 cm each.

www.janmulder.info

Netherlands + 316 215 459 71

janmulder@hetnet.nl

CURRENT EXHIBITION

Click on Older Posts ( below ) to see work by Alexi K and Kevin Ryan in the second part of this Christmas Edition...>>

ALEXI K - LINE ARTIST

These figure drawings are part of my ongoing experiments with either lines or dots, using a technical drawing pen, and black ink on paper. Being a fan of Japanese art, and constantly striving for 'less is more', means that I will occasionally take a break from my rather 'hyper' colour work, and get back to basics.

These drawings are reminiscent of 3D scans, or perhaps sonar scans / seismographs. They are a tricky thing to get right, and more often that not, a piece will end up being worked to the Nth degree, to disguise a mistake. But that's what makes these intriguing to do, because there is always a point when an unexpected bit of magic happens, and the piece will suddenly come together, or display some surprising effect.

Above: Vibration ( 2 Torsos ), Pen and Ink on A3 Paper

Above: Female Figure, Pen and Ink on A3 Watercolour Paper

Above: Female Figure, seen from below, showing 3D Effect

Above: Reclining Figure, seen from below, showing 3D Effect

Above: Venus, Pen and Ink on A3 Watercolour Paper

Above: Woman Disrobing, Pen and Ink on A3 Watercolour Paper

Above: Woman Disrobing 2, Pen and Ink on A3 Watercolour Paper

KEVIN RYAN ( UNTITLED PAINTER ) - I DRINK, THEREFORE I AM

Above: Untitled ( 1 ).

Above: Untitled ( 1 ) - detail.

Above: Untitled ( 2 ).

Above: Untitled ( 2 ) - detail.

Above: Untitled ( 3 ).

Above: Untitled ( 4 ).

Why do you never title your work?

1. The reason is simply because the paintings are not made with anything in mind. I don't want the work to be read in any specific manner which could be suggested by a title. That's also why I call myself Untitled Painter.

Describe your technique.

2. I don't have a technique. I try to keep away from doing anything that is planned. I just work on each painting until they are done with.

What does abstraction mean to you?

3. I don't think abstraction really means anything to me, I make work that can be classed as abstraction, but I don't think of it as such.

What would you say to a person who does not get abstraction?

4. Is there a point of abstraction? I don't think its my business to convince anyone of anything.

Why is your work small?

5. My work is small at the moment, because the way I work suits the handheld.

What's the attraction of using beer mats? Are they symbolic in any way?

6. I frequent the pub rather a lot so decided to use the mats as a surface to make work on. Thinking about showing them in a pub sometime soon.

 UNTITLED PAINTER