Parda Cyan (°1984, Bucharest, Romania) makes drawings, photos, drawings and films. By merging several seemingly incompatible worlds into a new universe, Cyan focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His drawings are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By demonstrating the omnipresent lingering of a ‘corporate world’, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By emphasising aesthetics, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By focusing on techniques and materials, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. In a search for new methods to ‘read the city’, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning.
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