SWIMMER

SWIMMER SEAH ZELIN

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s w i m m e r

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a r t i s t

s t a t e m e n t

Throughout my practice, I tried to approximate the invisible ingredients- the structure, the element, and the motive that shape a pictorial world, artistically as well as contextually.

Furthermore, I am concerned with the cause behind every effect, especially issues related to the current life condition, from the socio-economic viewpoint. I believe that trading, which comes with an exchange or colonization in culture and more, has contributed significant changes to what we have today.

My previous IKEA series focused on today’s global market manipulation that unleashed the monochromatic schemes on regional expressions, followed by the blue-and-white Porcelain series that signifiesan echo from the past: the transition of cultures through trade, which shaped me as an individual in a postcolonized, multiracial country.

And now, in my recent development, I am looking at the future: What if, in the future, the cyber age, where man can turn/ being turned into different shapes, how would one define themselves then? Man in the near future, transforming while surviving, losing its shape through endless connection and disconnection. Would man still fit into their culture facade for the sake of belonging or attempting cultural economy? The curious sensation about the uncertain development of culture as the branding in the skin has gotten me overwhelm.

All painting works for this series are painted on aluminium and brass plate. I take it as an evidence of the current trend, where aluminium portrays the popular medium to the manufacturing industry, and brass depicts the fashionable material in homes & commercial designs. Apart from being the foundation for the paint, I exposed the materials, sanded them over, and created various kinds of reflections with layering process. My intention was based on the visual effect as well as contextualizing the materials provided: Highly reflective, durable, valuable, as a hint on urbanize and materialistic. This results in the background being the focus of attention, to confuse viewers on what they are looking at- a scene/ an artifact.

The key elements for this series include: liquid, skin tones, geometry form and Peranakan tile motifs. I emphasize the abstraction of everyday structure, merging with minimized human gestures in different skin tones. I see man as part of architecture structure, where they connect, transform, interlock and dislocate while fitting into one or more positions.

On the other hand, I focus on building up a virtual space by filling the space with liquefied Peranakan tile motifs, suggesting an ambiguous status to the foundation of my multiracial culture background. The different expressions of liquid refer to the social phenomena that concurrently happen, which I think that causes the dislocation of the culture inheritance. Being in the liquid times, nothing is really permanent: relationship, territory, power, believe, identity‌ I try not to hold onto anything that floats on the surface, but I shall learn to swim and dive, or I will sink. s e a h

z e l i n

swimmer: a resistance against definition

Seah Zelin has been productive. Fresh off Hit the Ground and Blossom, a solo exhibition in Kuala Lumpur just last year, the artist resurfaces in Singapore with Swimmer, a show where 9 aluminium and brass pieces mingle with Peranakan tiles, and a patriotic piano plays a single tune.

Swimmer is “about the attitude,” says the artist, hinting at a swimmer’s ability to stay afloat, master different strokes, and – on his part, certainly – to move against the current. Summed up, it’s a body of work that encapsulates Zelin, and it’s defined by his strong statements on form, identity, and remedy for homogeneity. form above all

With Zelin, every single work begins with the structure. “It’s what I really enjoy making,” he confesses, adding that it’s only once form is dictated that function – or subject matter, to be more specific – follows.

This has been the go-to since day one. Mediums also surface as a cause for concern in Swimmer and those familiar with Zelin’s oeuvre will observe the gradual introduction of new mediums at each milestone.

Aluminium, a relatively new signpost in his artistic journey, increases its relevance in this body of work and – as in the preceding one– harks at our digital age and the ease at which we are now able to add or subtract at the touch of a button.

With Swimmer, we also see continuity in the use of motifs. The quintessential blues and whites of Ming dynasty porcelain make a re-entry in this body of work, although the hues are noticeably more subdued. So is definition; abstract qualities are heightened, but despite this looseness, every piece ultimately stems from a single focal point.

Zelin has intended for this, stating “I focus on one structure and have done this from the start.” Chairs and other items of furniture surfaced in his earliest works, a comment on the booming rise of mass production, and whilst traces of these objects reappear in Swimmer, their disposition is more abstract. “I’ve brought in the interior structure again, but not in its complete form,” he says. The exhibition’s eponymous work illustrates this point well. In Swimmer, a strange organism seems to sprout from the ground, with curling waves for tendrils and sharp golden branches – likely, the wooden legs of an armchair – that form rigid angles across the composition. r a c h e l

j e n a g a r a t n a m

looking inside, gazing outwards

The continuity of media and motifs hasn’t translated to matter, though.

Last year, the mood was exploratory and Zelin’s Hit the Ground and Blossom seemed to end on a positive note – that there was hope to be found in even the most dismal situations. Swimmer, on the other hand, seems to herald a conclusion to all his ruminations of yesterday and the work Pool not only sheds light on this, but also, encapsulates the very essence of the show. A double-panelled piece, Pool speaks of the different status of men within society. “It is a small pool, but it’s quite crowded,” the artist points out, referring to the gold elements in the work that represent humans; some play supporting roles, some are in a precarious balance, whilst others are rising to the top.

With Malaysia’s ongoing political challenges, it’s tempting to believe that this is Zelin’s analysis of things, and whilst there is some truth in this statement, the actuality is more insular. “It’s not just about the political purview. It’s about how I see myself in this state, where nothing is really stable and this even relates to culture.”At this juncture, Zelin references Singapore, no doubt aware of the context that Swimmer will be moored in, and how culture in the city-state is strategically orchestrated, built into being. He laughs. “As an artist, I’m doing the same – bringing something to life, culturally, and claiming it as mine.”

It’s ultimately about perspective and the works Here or There and There or Here illustrates this point well; the pair of works are a play on our bilateral ties and how Malaysians and Singaporeans view each other. “In these works, I’ve tried to describe the sea, but from two perspectives,” says Zelin. It’s like if you were standing at the tip of the peninsular and gazing across the water, or standing at Singapore’s northernmost edge, looking at Johor Bahru. “It’s about whether you see any differences. Do you?”

cunning culture, loose identities

Identity thus remains in the picture – the artist’s own, as well as macroscopic identities of his home nation and region – and Zelin channels this query into the Peranakan (Straits Chinese) floor tile motifs of Golden Skin. The tiles’ distinct patterns had already made an appearance in a swimming pool installation from his previous exhibition, but Golden Skin embodies the artist’s research into the origins of the tile patterns and the ensuing revelation that their origins are from much further afield; whilst widely claimed as a product from this part of the world, Zelin discovered that the origins of the tile’s motifs can be cast to England, Japan, and even Belgium.

Is identity mutable? Definitions are, for certain, and Zelin not only finds humour in this, but also, a sharp sense of logic. “Culture is not really about your skin, but what you play around with, your surroundings,” he surmises. Does this point to his own identity? “Yes. That’s how we live today. We are actually living in different circles, but on the same land”.

Speaking specifically about societal structures, the “circles” are dictated by our clothing or music tastes, our jobs and even the cars we drive.

“How people group themselves is no longer based on geography, but by their preferences,” says the artist. But, when asked where Zelin belongs, a sharp silence fills the air. Zelin hesitates and no answer appears.

It’s that loose, abstract form again – a morphing being that refuses definition, a swimmer that flips on its back to let the currents guide his movement. No wonder then that Float is one of Zelin’s favourites. It’s where the work’s subject has been reduced to its most minimal and abstract form, and where the rendering sees the least definition. It’s a little like the artist himself; Zelin seems to resist being defined.

swimming against the tide

It’s thus apt to end with words on Zelin’s piano, 1 Song. The idea for the work has been a long time in the making and it features the type of piano that’s ubiquitous in every Malaysian school. “It reminds me of weekly school assemblies, and I engaged with a professional tuner to tune the piano in order to play only one song, which is the national anthem of Malaysia, Negaraku.

“Now, everyone can play, you just have to press every key, and the song will be played. In this case, the function of piano has been limited, and it can no longer be flexible or play other songs. It comes back to the diversity and flexibility of being a Malaysian. I find that society, at some point, will standardize and become monotonous, so that it will be easy to control or maintain. But the more we look alike, the less sparks will turn out,” he argues.

With this, it’s clear that Zelin marches to his own tune. And, that he has a strong desire for others to celebrate and pursue their own individuality, too. And why not? It’s about IKEA vs. a unique, unduplicatable work of art; a challenge to conformity vs. being a slave to mass thought; a diverse society that’s independent and thriving vs. a homogenous whole that’s burdened by control. It is – as Zelin has arguably brought forth with Swimmer– about a resistance against definition.

singapore, september 2016

swimmer

oil on aluminium plate / 113 x 93 cm / 2016

leaks

oil on aluminium plate / 113 x 93 cm / 2016

float

oil on aluminium plate / 113 x 93 cm / 2016

1

piano installation /

song

114 x 144 x 61 cm / 2016

here or there

oil on aluminium plate / 75 x 152.5 cm

oil on aluminium plate / 75 x 152.5 cm

there or here

golden skin - set a

a

d

oil on brass plate /

( a, b, c, d, e, f)

b

c

e

f

40.7 x 40.7 cm each / 2016

golden skin - set b g

j

oil on brass plate /

( g, h, i, j) h

i

61 x 61 cm each / 2016

undercurrent

oil on aluminium plate / 93 x 113 cm / 2016

SWIMMER SEAH ZELIN

_ ISBN 978 - 981- 11-1308 - 6 PAPERBACK

978 - 981- 11-1309 - 3 E-BOOK

TAKSU is a leading contemporary art gallery and specialist in Southeast Asia. Representing selections of fine art with distinctive urban edge, we are at the forefront of contemporary art in this region. TAKSU works to forge a platform for established and emerging artists to share their pool of creativity and knowledge through its residency programs and exhibitions. Encapsulating the true meaning of the word TAKSU; divine inspiration, energy, and spirit.

Suherwan Abu Director, TAKSU Galleries

Graphic Design Jeffrey Lim / Studio 25 Printer Unico Services Piano Tuning Darren Piano Service Artworks & Images © 2016 Seah Zelin This publication may be reproduced in any form for academic, editorial and/ or non-commercial purposes without special permission from the artist(s) and gallery, with acknowledgement of the source. For other purposes, prior consent is needed.

Seah Ze Lin (b.1980) lives and works as Visual Artist and Visual Art Lecturer to The One Academy in Kuala Lumpur, Malaysia. He received his BFA at Birmingham City University in 2007.

Seah has been acclaimed for his semi-abstract depictions of the contemporary socioeconomic phenomenon. His works appear connected fragments. His method of paint combined the reality and his interpretation of abstract ideas, regarding the contradictory motivation under daily life.

Seah constantly participate in Malaysia Art scene, as well as South East Asia region country on exhibitions and residencies, Including Perahu Art Space Indonesia in 2013, Project Space Philippines in 2012, The Open Society Foundation Myanmar in 2012 and Hom Art Trans Malaysia in 2011 & 2013.

Seah work was part of the Jury’s selection of recommended works at the 14th Japan Media Arts Festival 2011. In 2013, Seah has been recognized as awardees for The Young Guns Awards Malaysia. He is the Youngest among the 4 Malaysian artists who have been chosen to exhibit at Saatchi Gallery United Kingdom, under Prudential Malaysian Eye program, 2014. In early 2015, his works being showcased in project booth of Art Stage Singapore, under TAKSU Gallery.

Seah’s works are in the permanent collections of the National Visual Art Gallery Malaysia, HOM Art Trans Malaysia and Birmingham City University United Kingdom.

outside cover; cropped Pool (diptych) Oil on Aluminium Plate 93 x 226 cm / 2016 inside front cover; cropped Golden Skin (Installation view) Oil on Brass Plate

THIS CATALOG IS PRINTED ON FSC-CERTIFIED PAPER TAKSU is also taking proactive steps to make the transition to a cleaner, sustainable future. This catalog (inside pages) has been printed on FSC-certified paper Hanno Silk 150 gsm.

FSC mixed.

SEAH ZELIN (b.1980) Kuala Lumpur, Malaysia EDUCATION 2007 Bachelor of Art with Honor (Major in Fine Art) University of Central England (Birmingham City University) 2002 Diploma in Illustration The One Academy, Kuala Lumpur RESIDENCIES 2013 Perahu Art Connection Yogyakarta HOM Art Trans Kuala Lumpur 2012 Project Space Pilipinas Manila Open Society Foundation Yangon 2011 HOM Art Trans Kuala Lumpur SELECTED AWARDS 2014 Awardees Platinum Achievers of The One Academy, K.L 2013 Awardees The Young Guns Awards, Kuala Lumpur 2011 Jury Recommended Works 14th Japan Media Arts Festival, Tokyo PUBLIC COLLECTIONS National Visual Art Gallery Malaysia HOM Art Trans Birmingham City University SOLO / DUO / EXHIBITION 2016 Swimmer Taksu Gallery, Singapore 2015 Hit The Ground and Blossom Taksu Gallery, Malaysia Capturing Contemporary Art Stage Project Booth (Taksu Gallery), Marina Bay Sands, Singapore 2013 50 / 50 two man exhibition, Taksu Gallery, Kuala Lumpur 2011 To Whom It May Concern: Being HOM Art Trans, Kuala Lumpur

SELECTED GROUP EXHIBITIONS 2016 Bi Lateral Bonds Taksu Gallery, Singapore & Kuala Lumpur Making Shalini Ganendra Fine Art, Kuala Lumpur Art Stage 2016 Taksu Gallery, Marina Bay Sands, Singapore 2015 Stories of 11 Artworks HOM Art Trans, Kuala Lumpur Art Expo (Taksu Gallery) Matrade Center, Kuala Lumpur Interface Taksu Gallery, Singapore Local’s Only Taksu Gallery, Kuala Lumpur Recent Acquisitions National Visual Art Gallery, Kuala Lumpur 2014 Prudential Eye Zone (curated by Nigel Hurst) Saatchi Gallery, London Prudential Malaysian Eye (curated by Nigel Hurst) MAP@Publika, Kuala Lumpur Art Expo (Taksu Gallery) Matrade Center, Kuala Lumpur Freedom Under Construction HOM Art Trans, Kuala Lumpur The Young Guns Chan Hampe Gallery, Singapore Concurrence West Gallery, Manila 2013 The Young Guns MAP@Publika, Kuala Lumpur Art Expo (G13 Gallery) Matrade Center, Kuala Lumpur Figurative Trajectories G13 Gallery, Kuala Lumpur SAGER Perahu Art Connection, Yogyakarta SAGER HOM Art Trans, Kuala Lumpur Local’s Only Taksu Gallery, K.L 2012 Transit A4 HOM Art Trans, Kuala Lumpur Members Only National Visual Art Gallery, Kuala Lumpur SAMA-SAMA Boston Gallery, Manila Southeast Asia Art Exchange New Zero Art Space, Yangon 2011 In Death Row’s Shadow KLSCAH, K.L Sequential Narrative Galeri Chandan, Kuala Lumpur Vertical or Horizontal HOM Art Trans, Kuala Lumpur 2010 MERAPI ERUPTION HOM Art Trans, K.L Pudu Community Art Festival Pudu Plaza, Kuala Lumpur Pameran Poskad 2010 My Art Space, Singapore

_ ISBN 978 - 981- 11-1308 - 6 PAPERBACK

978 - 981- 11-1309 - 3 E-BOOK