Featured Artist: Amir Zainorin

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First of all, please introduce yourself to those of our readers that may not be familiar with you and your work.



Amir Zainorin, the artist. Image courtesy of Amir Zainorin


My name is Amir Zainorin. I was born in Malaysia, but currently live and work in Denmark. I didn’t have any formal training in art. I have never gone to the university to study art but studied business administration at Polytechnic Ungku Omar in Malaysia and University of Missouri Kansas City.

From 1995-1998 I apprenticed with well known POP artist Jeri Azhari in Kuala Lumpur. The main focus for me was on simplicity. Learning how to simplify things and to create something out of nothing.

When did you first realize you were an artist?

When I did my first oil on canvas in 1995. I had a few meetings with Jeri at his studio in Kuala Lumpur and was encouraged by him to start painting. At that time I had just quit my full time job at an advertising agency and wanted to discover myself on what I should really do with my life.

Does anyone in your family make art?

No, no one in my family makes art.

What types of job(s) have you had in the past?

I have worked in a bank, advertising and PR agency, hotel and restaurants in Kuala Lumpur. I have also run diving school and a batik school on an island in Malaysia.

What do you do for fun besides making art?

I like to watch films and play with my two kids.


FAMILY PICTURE: Amir with his wife, Pia Poulsen holding their daughter Malika in her arms and son Ilyas on her side. Image courtesy of A. Zainorin

What are you doing besides making art?

I am organizing my first festival in Denmark. It is a Malaysian Arts festival which includes art exhibition, film screening, dance and music performance.



This is the first Malaysian arts festival to ever take place in Scandinavia. I have just formed a collective called ‘Jambatan’, a Malay word which means bridge. The main goal of Jambatan is to build up networks between Danish/western and Asian artists. It is also aimed at developing and strengthening intercultural competences in the life of art and culture.


Could you tell us a bit about UN-CUT09: MALAYSIAN ARTS FESTIVAL, an arts festival you've being involved with organizing? Who are the key players involved in this project, when/where this arts festival will take place, and what can the public expect to see?

UN-CUT09: MALAYSIAN ARTS FESTIVAL will takes place in the city of Copenhagen and Roskilde from August 5th - 15th, 2009.

The title ‘UN-CUT’ has a double meaning. Part of the title refers to the uncensored and open dissemination of art form. The other part of ‘UN-CUT' refers to the same word pronunciation in Malay ‘angkat ‘, which means to lift. One of the festival’s goals is to lift and introduce Malaysian art to a new audience here in Denmark.



20 artists from Malaysia will be showing their work at Gallery Shambala in Copenhagen. There will also be a film screening at the Museum of Contemporary Art in Roskilde. Dance and music performances will take place at the World Culture Center in Copenhagen.

My friend Nur Hanim Khairuddin, an artist and curator from Malaysia is helping me in choosing and scouting for artists to participate in this festival. It is certainly a big help because of the distance plus we have free hand in doing what we see fit. The National art Gallery of Malaysia and Museum and Gallery Tunku Fauziah of University of Science Malaysia are giving their support to this festival. You can visit the festival blog at www.jambatan.blogspot.com for more information.


Please tell us a bit about your painting and collage work. What are the thoughts and inspirations behind the creation of this body of work? What is the specific message you strive to convey to your viewers?

My work is inspired by things that I find in the mass media and my surroundings. In the first couple of years when I started to make art, I was working with oil.


Surrender, oil on canvas, 1997 (Click hyperlink to read more about this work...)
Image courtesy of A. Zainorin

Most of the subject matter I picked up was from film magazines, art books and pictures from the newspapers. I was also painting portraits of artists and famous people.


The NY Times, 200cm x 115cm, digital print on canvas, 2008
Image courtesy of A. Zainorin

*Orang Asli and banksy balloon, 150x110cm, digital print on canvas, 2007
Image courtesy of A. Zainorin

[*The Orang Asli are the indigenous minority peoples of Peninsular Malaysia. The name is a Malay term which transliterates as 'original peoples' or 'first peoples.' ]

The history channel, 200cm x 125cm, digital c-print on canvas, 2008
Image courtesy of A. Zainorin


I grew up in an environment of popular culture. Watching Walt Disney, the Lone Ranger, Six Million Dollar Man, Superman, to mention a few. My father was a singer in a Ghazal (Band) back in the 60's, so music has also been a big part of my life.


*The Dance, 170cm x 120cm, digital c print on paper, 2009
Image courtesy of A. Zainorin

[*MORE... Malaysian typical dances on YouTube
http://www.youtube.com/watch?v=imiYNPEPS-M&feature=related
http://www.youtube.com/watch?v=FnUagvHGA2A&feature=related]

One of the main inspirations of making collage is because of its simplicity and the idea that you don’t necessarily have to buy paints or colors to make art.


Can you discuss your process in general? How does it all start, what techniques and materials do you use?

I have worked with many different materials. I first started with oil, and later on switched to acrylic and at the same time started to make collage and assemblage from objects I found from the street.


Askepot II, 45cm x 60cm, collage and acrylic on linen, 2006
Image courtesy of A. Zainorin

ISBN 7887, 110cm x 150cm, collage and acrylic on canvas, 2007
Image courtesy of A. Zainorin


For the past 7 years I have been working with my computer creating digital prints. Earlier this year I had a solo exhibition in London showing about 15 pieces of my work done with computer.


ISBN, digital print, 2007. Image courtesy of A. Zainorin

Chin Peng 陳平 - stamp series, 56cm x 46cm, digital print, 2008.
To learn more visit http://amirzainorin.blogspot.com/2008/08/chin-peng.html
Image courtesy of A. Zainorin

Ahmad Boestaman - stamp series, 56cm x 46cm, digital print, 2008.
To learn more visit http://amirzainorin.blogspot.com/2008/08/ahmad-boestaman.html
Image courtesy of A. Zainorin


I have started making video interviews and art videos the last few years. The below is a video interview of a renowned Malaysian artist Redza Piyadasa. To view more videos I made please visit http://www.youtube.com/user/amirzainorin





Okay, how does it all start - well, I guess it all starts with an idea of what I want to make which I then need to decide which technique I want to use. It could be collage, assemblage, painting or so on. But the idea normally comes from ready-mades, things that are easily recognizable, pictures, sign board, logo etc. I am getting a lot of my sources from the internet nowadays.


My latest series of work are portraits of well known women made of lakrids (liquorice). So, I work with many types of formats to create art.


Princess Mary, 65x 75cm, lakrids on board, 2009
Image courtesy of A. Zainorin


What is the most interesting comment you have heard from a viewer?


(Detail) Klip-klappa, made of lakrids and glue on board, 2009
Image courtesy of A. Zainorin

I have just come back from a sculpture festival in north Denmark which I showed my lakrids slippers and portrait of Princess Mary. One person came up to me and said, "I know why you do this, you think that we Danes are very sweet people."


Are you planning any exhibitions of this body of work in the near future?

Yes, but I am not sure where I will show them yet. I have to be careful where I am going to show them because the ants will be very attracted to them.


Please tell us about the 99 Flagmen you made.

There are 99 flagmen in this piece of work and they are made of plaster, canvas and ink. This work is inspired by The 99 Names of Allah (also known as The 99 Most Beautiful Names of God) which have different meaning or characters. It is also believed that when we practice writing the characters, it will leads to spiritual power.


99 Flagmen. Image courtesy of A. Zainorin


A flag is a symbol of conquest. This is derived from our desire to show power, be it of conquering new physical territory or epistemological space.

Flagman. Image courtesy of A. Zainorin


How long does it take to do one painting (please give us one example)?

It could take one day for a painting or two. It could also take me years to finish it but that doesn’t normally happened.



Artist at work. Image courtesy of A. Zainorin


Image courtesy of A. Zainorin


Where do you see yourself in 10 years?

It is very difficult to say, but I would like to have a retrospective show in the next 10 years somewhere.


Any advice or tips would you give to an artist just starting out?

Never give up. Only the best comes out from the worst.


Amir in his studio. Image courtesy of A. Zainorin

Would you provide links to articles and reviews about your artwork?

I guess you could try to google my name, "Amir Zainorin", there will probably be an article that will pop.


Tell us about the awards and recognitions you received in the past years.

I have received grants from the National Art Gallery in Malaysia for doing my solo show "Mad(e) in Malaysia" held at Bricklane Gallery in London.

I also have been featured in many online galleries. My work was awarded the "No.1 Saatchi Online Magazine Critic's Choice" by Saatchi Online. In addition, I was awarded "July Showcase Winner" by ARTslant recently.

Do you offer any art workshops?

Yes, I hold art workshops from time to time. My next workshop will be at Heerup Museum in Copenhagen where I will be working with children making art from trash. This is in conjunction with the Environmental Summit in Copenhagen where president Obama will be coming to officiate in December 2009.


Installation view: TrashArt-environmental exhibition
Image courtesy of A. Zainorin

Installation view: TrashArt-environmental exhibition
Image courtesy of A. Zainorin

Are you available for commissioned works? Representing gallery if any?

I am available for commission work. Ra Gallery is representing me in Malaysia and Bricklane Gallery has offered to represent me in London.


Amir with his friend Badrul at his art reception at Bricklane Gallery in London.

Do you have a website (or any web presence) for interested readers to learn more about your work? Would you like to share your contact info with our readers?

www.amirzainorin.dk
www.amirzainorin.blogspot.com
http://www.youtube.com/user/amirzainorin

Finally, is there anything else you would like to say about your art?

Art is life. Enjoy and make things happen. Thank you.



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Featured Artist/Gallerist: Marjorie Kaye - Part 1

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First of all, would you please introduce yourself to our readers that might not be familiar with you and your work?



Marjorie Kaye, artist/gallerist. Photo by Sand T


My name is Marjorie Kaye and I am basically a New Englander! I am originally from the North Shore; I lived in other places along the way, most notably New York City in the 80s. I am currently based in Cambridge, MA, where my home and studio are located, and where you can find George Shaw, who is also an artist, a photographer.

I attended Syracuse University’s College of Visual and Performing Arts and graduated in 1979 cum laude. My focus was on painting, as is my degree, but I experimented a lot with printmaking (mostly lithography). I also enjoyed singing contralto in the Syracuse Oratorio Society when I was there.


What types of job(s) have you had in the past?

Oh, so many!!!! When I graduated from college I worked as a leather cutter. I soon worked my way up to stitcher and samplemaker. This was a manufacturer of women’s accessories way back before computers (and manufacturing disappeared here in the US)…It was quite wonderful, actually.

Some other notable jobs have been as a Site License Administrator for a software company (I learned how to organize and lost some hesitancy in regards to computers in general).

In New York I worked for the National Council of American-Soviet Friendship, which was one of the most incredible experiences I’ve ever had. This was in the early eighties, of course, and I met some very fine people.

I’ve painted kitchenware, slicked children’s clothes, shipped, received, kitted electronics, drawn house portraits, answered phones…lots and lots of work, none of which I consider wasting time.


How did you get interested in making art?

I have always been making art! It has always been a natural thing to do, since I was a child. (Every child makes art, it’s true -) As I grew older, of course, I found out that I needed to “declare” that I made art! I suppose at that moment you become serious about it, and “grow” into it as an artist.


What do you do for fun besides making art?

The first thing that comes to mind is the incredible “Upper Forty” – This is the nickname we give to our fine roof garden. Gardening and being in nature in general is something I love.


Container herb garden on Upper Forty. Image courtesy of M. Kaye

Lush greens on Upper Forty. Image courtesy of M. Kaye

I also love going to museums and galleries, reading (sci-fi or history), cooking; astronomy, astrology, and meditation. Oh, and music!!! Rock and Classical, Country, you name it.


What kind of job(s) you do besides making art? Do you teach, write, curate shows, and/or manage a gallery? If so, please give us some details.

Well, just about all of the above. I’ve curated a ton of shows. I have run an on-line gallery called Caladan Gallery featuring hundreds of national and international artists since 2003.


Installation view, "Large Works/Small Works" at Galelry 181, Lawerence, MA
Image courtesy of M. Kaye

I’ve run a physical gallery as well Gallery 181 in Lawrence, too. For these shows I’ve done a lot of writing. I find that doing this broadens my perception of the work I’m writing about and adds a certain dimension to my understanding of it.

Maybe it’s because I have to spend more than a few minutes looking at it – I definitely respond to the visual stimulus, the “special effects” of artwork (as an infant discovering the world does), but writing takes me beyond that, further into the conceptual structure of the work.


What inspired you to establish Caladan Gallery? What are your goals for Caladan? What do you do on a daily basic running Caladan? How many shows you put on per year, etc?

Caladan Gallery started in a strange way. I had been doing other jobs (sewing appliqués, house portraits, etc.) and had a compressed nerve root in my neck develop. As a consequence, I couldn’t use my right arm (pain and numbness!) for about 6 or 7 months. So I thought long and hard about what I was going to do to earn money. I came up with the idea of an on-line gallery and a friend helped me get set up! (I was lucky!)

Caladan keeps growing, so I think it progresses naturally. I love running it. There are so many incredibly wonderful artists from all over the world involved. The connection through art is one between all people – I have many artists from places in the world that people would never give a thought to involving themselves in. It is the art that is the common language. It’s beautiful, transcending the national and international problems that make boundaries between us.


Would you like to tell us a bit about Gallery 181 you operated in Lawrence?


Marjorie Kaye, director of Gallery 181 interviews artist/photographer Toni Pepe at "Large Works/Small Works" reception. Image courtesy M. Kaye

It was a stroke of luck that enabled me to run that gallery. After the man who had it before me left, the store owners in the building asked me if I would be interested in taking it over. I was, and I did. I decided to use the opportunity to help strengthen the wonderful, diverse community in Lawrence.

There already existed the Essex Art Center, which is still doing wonderful things. I found there was a Cultural Alliance made up of the most energetic, enthusiastic people from all parts of the city and was fortunate to hook up with that group.


Dov Lederberg from Jerusalem making a point during lecture at Gallery 181
Image courtesy of M. Kaye

I held juried exhibitions, as well as solo exhibitions in that space. Notable was an exhibition by two artists that hauled their work from Minneapolis and enjoyed the history of the city – the mill buildings we take for granted here in Massachusetts – also notable was an exhibition “Seekers and Visions”, the reception at which two artists from Jerusalem came and spoke about their Kabbalistic art. It was thrilling.

There was the “Made in Lawrence, USA” exhibition that showcased artists affiliated with the city. Wonderful. I had to close because I lost my storage and shipping space! But I have nothing but good things to say about my experiences there.


What has been the most rewarding experience you've had as a result of running Caladan and Gallery 181?

The most rewarding experience coming from running Caladan and Gallery 181 is the sense of community of artists that has arisen in my personal and professional life.


Admirers of works at Gallery 1818, Lawrence, MA
Image courtesy of M. Kaye

This spans locally, nationally, and internationally. You can see monthly rotating exhibitions, group and solo, at http://www.caladangallery.com. There are also continuing gallery members. I miss it. I am in the initial stages of working on forming a gallery based on the co-op model now, most likely, hopefully, to be in Boston’s South End.


Would you like to elaborate a bit your ideas of forming this co-op gallery?

My plans for the new gallery will be based on the co-operative model, but a little different! As most people are very short on time, there will be minimal gallery sitting. I will do most of it, save a couple of days. There will be members' exhibitions, members' solo exhibitions, juried exhibitions, and invites. I hope to create an warm atmosphere where people will be encouraged to participate in many aspects of viewing the art - dialogue encouraged!

We also plan to work with the community, holding fund-raisers for needing organizations. All of this is in the initial stages of the making, but we anticipate an active, energetic setting in which to view contemporary art.

Would you provide links to articles and reviews about your gallery work?

A write-up about Gallery 181 in the Boston Globe: http://www.boston.com/ae/theater_arts/articles/2006/05/07/arts_new_directions_on_display/

Another write-up about Gallery 181 in the Lawrence Eagle Tribune: http://www.eagletribune.com/pulife/local_story_018120446



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To be continued in Part II...


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Featured Artist/Gallerist: Marjorie Kaye - Part 2

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This is a two part interview and is continued from Part I.

Please tell us about your newest work series. Do you have a title for this new series? What are the thoughts and inspirations behind the creation of this series? What is the specific message you strive to convey to your viewers?


Marjorie is working on "Folding Light" in her studio in Cambridge.
Photo: Sand T

My newest body of work happened from a serendipitous angle. I have been doing mandala-based drawings for over 20 years! One day I was clearing some space in one of our top floor rooms for a seedling-growing fluorescent set-up (so the cats wouldn’t eat the plants!). I looked around and thought “I am going to paint in here!!!” And so my newest paintings started.


Pyre - Mixed Media: Watercolor, Gouache, Oil Pastel, 6.5" X 8", 2009
Image courtesy of M. Kaye

I have titled them “Gestural Trails”. I quote from my artist’s statement:

“What has been the inner focus of geometric sequence has become a relatively non-linear study in the content of expressive direction…A moment in time is transient; existing however, almost radically in the entirety, recognizable as memory. It is as a ghost of itself, providing waves of light, trails of suggestion. In my paintings I seek to provide a clue to the components of action and energetic expression.”

Indigenous Aliens Locomotion - Swim, Crawl, Fly, Acrylic on Canvas, 60" X 48", 2009
Image courtesy of M. Kaye

In other words, it is the actual energy of creating the paintings that determine the structure itself. I think they cause an initial reaction of becoming saturated in color and the energy of the pieces. It’s almost like dancing with paint. I feel an exhaling, a relief, freedom of movement when I paint them.


Folding Light, 48"X66", Acrylic on Canvas, 2009
Image courtesy of M. Kaye

This painting (Folding Light) is a cross between contrast and subtlety. At once, there are areas that seem to point to themselves, crying for attention - moving through space like a meteorite threatened by a vacuum. They stick out, cornered, seeming to flee from the space around them. Other areas are more communal minded, blending shapes together to create a massive surface. The shapes drop into each other, moving in a circular motion like koi fish in a small pond. They are all essentially restricted, which ultimately leads to an explosion of energy. The painting is a union of opposing forces, energies, textures, and intention.



Could you discuss your creative process? How does it all start, what techniques and materials do you use?



My paintings start as a wash on the surface; in the case of the acrylic paintings, on canvas, and in the mixed media, watercolor on archival mat board. The washes are prepared with just enough pigment to create a differentiation in the surface texture which is propelled by the actual painting of the surface.


Myth - Mixed Media: Watercolor, Gouache, Oil Pastel, 6.75" X 6.75", 2009
Image courtesy of M. Kaye

From this point I pick out shapes and values which are defined as the “base shapes” for the individual piece. I perceive further differentiation in this texture and begin to define the form.


Brief Cascade - Mixed Media: Watercolor, Gouache, Oil Pastel, 8" X 6.25", 2009
Image courtesy of M. Kaye

Layers of paint; light surface and depth, transparent and opaque, are applied until the individual shapes begin to vibrate, alive with direction and intention. These shapes are connected to one another, abutting the edges both form-wise and with the application of color. There is a dichotomy of containment set up against non-restraint which generates the energy.


Here comes the frequently asked question - How long does it take to do one painting (please give us one example)?

I used to get that question with my mandala pieces quite a lot!!! Those took MONTHS to do!


Outcrop - Mixed Media: Watercolor, Gouache, Oil Pastel, 18" X 12", 2009
Image courtesy of M. Kaye

My work now takes between about 5 hours (for the smaller mixed media pieces) and a month (for the huge acrylic paintings 60" x 48" or so – that’s not counting making the stretcher! I love doing that and feeling the surface I’m working on is part of my process. It’s like the difference between making soup stock and buying it in a can.

I love doing that and feeling the surface I’m working on is part of my process. It’s like the difference between making soup stock and buying it in a can.

The 60" x 48" took the longest, of course – I love working on a large surface with these – I love watching each individual area I paint become knitted together when I paint the “negative” space at the end of the painting.


What is the most interesting comment on this new body of work you have heard from a viewer?


Indigenous Aliens - Acrylic on Canvas, 22" X 28", 2009
Image courtesy of M. Kaye

I recently sent over some jpegs to Joanne Mattera, (who you recently interviewed!) a fav artist of mine and a wonderful person besides – and she drew reference to “staccato” notes to describe my texture and strokes. She tied my previous work and present work together with that illustration. I love that reference to musical rhythm.


Are you planning any exhibitions of this body of work in the near future?

Working on it!


How have you handled the business side of being an artist?

As I have become more experienced as an artist it has become a little easier to “get through the wall” of exhibiting.


The Clouds Burned Off - Acrylic on Canvas, 30" X 40", 2009
Image courtesy of M. Kaye

In addition to sending my work “out there”, I decided to create my own niche as an artist and provide venues for myself and others to exhibit.

I admit that I would like nothing more than to wake up and head right for the studio and everything else can disappear! But practicality must be addressed (unfortunately!). Actually, I can’t say it’s unfortunate because it has tied me to other artists and this is a gift.


Where do you see yourself in 10 years?

I have been so pleasantly awakened in the last 5 or 6 months by my new body of work that I can tell you that one has NO IDEA what journeys one is going to encounter along the way.


Weaving of Time - Acrylic on Canvas, 30" X 40", 2009
Image courtesy of M. Kaye

That is the absolute beauty of being an artist. But I know what I hope for, and that is that I get up in the morning and go to the studio – ultimately more than ever. I’d like to see myself continuing to help form a strong community of artists working and doing what they love. I’d love to continue to be there as an encouraging force for young artists, as well.


Any advice or tips would you give to an artist just starting out?

Yes. Do what you feel. Don’t think too much about what you think is expected of you. Work from your purity, from your reality.


Inner World - Mixed Media: Watercolor, Gouache, Oil Pastel, Watercolor Pencil, 18" X 12", 2009. Image courtesy of M. Kaye


Would you provide links to articles and reviews about your artwork?

This will lead you to my writing about Sacred Geometry: http://blog.beliefnet.com/flowermandalas/2008/01/sacred-geometry-and-the-mandal-1.html

Joanne Mattera’s wonderful art blog – included in her article “Centering”: http://joannemattera.blogspot.com/2008/09/centering.html


Do you offer any art classes? Are you available for commissioned works? Representing gallery if any?


What It Takes - Acrylic on Canvas, 24" X 30", 2009
Image courtesy of M. Kaye

I don’t normally teach, but am not adverse to the idea. I tend to “teach” through the extensive writing I do on the Caladan Gallery site.

I’m open to commissions, sure. I am represented through Caladan Gallery. I recently (in October) had a show at Gallery 263 in Cambridge and am archived on their site. Great space, by the way. I am presently searching for more gallery representation.


Do you have website(s) for interested readers to learn more about your work? Would you like to share your contact info with our readers?

If you go to http://www.caladangallery.com and scroll to the Members Gallery, click to get in it, and find me alphabetically, you can take a look. I also have some of my earlier work posted.


Cave - Mixed Media: Watercolor, Gouache, Oil Pastel, 10" X 12", 2009
Image courtesy of M. Kaye


Anything else you would like to add?

I appreciate the opportunity to share with your viewers! Thank you, Sand T.



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