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At the start of Oliver Kielmayer’s introductory text about Shaan Syed, a humorous yet insightful anecdote sets the tone for this exploration of the artist's work since graduating from Goldsmith College in 2006. During a 1990s concert by Sinéad O'Connor, Syed found himself at the front but unable to see her, as she rarely approached the edge of the stage. This experience inspired a pictorial idea linked to the view of the "empty" stage, reflecting Syed’s artistic approach. Kielmayer notes that while aesthetic experiences may not equate to concerts, LSD trips, or religious enlightenment, they share a connection to realms beyond cognitive understanding, evoking emotional responses. Syed’s formal compositions often resemble abstract Indian Tantric paintings, where the image serves as a catalyst for spiritual exploration rather than mere decoration or instruction. This aligns with 19th-century artistic modernity, emphasizing the autonomy of art, which can take any form or content while facilitating aesthetic experiences. Ultimately, this freedom in art underscores the intrinsic value of an image, inviting viewers to engage with it on a deeper level. This exhibition was held at Kunsthalle Winterthur from September 27 to November 22, 2015.
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Shaan Syed, Shaan Syed
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- 2015
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