Have we Found a Modern-Day Impressionist?

Kenya Wed 22-12-2010

Have we Found a Modern-Day Impressionist?
Alnoor Amlani | AfricanColours.com

Zihan follows her own career advice putting aside Toronto’s corporate lifestyle to set up the Resemble art project in Nairobi. Here, where the art scene is taking off and attractive residential and commercial properties are popping up like hotcakes, we intuit that her art will play its part as we strive to meet standards in interior decor like never before.

Alnoor Amlani: What category would you place your art in?

Zihan Kassam: I’m not big on labels but because I realize it’s necessary from a marketing standpoint, and because I like big words, I’d say my work most closely resembles Impressionism. My enthusiasm for colour combined with a strong inclination toward lucid dreaming means that I rarely use the colours and shapes you would find in Realism. The simple scenes in nature that I paint allow for free flowing cathartic brushstrokes customary of the Impressionists. Like them, I’ve enjoyed breaking the rules of academic painting. The truth is I rarely even use a paintbrush. I paint with my fingers, my nails, and recycled pieces of plastic, the results of which are ambiguous paintings; nature abstracts.

Untitled | Zihan Kassam

AA: What elements of life inspire you to be creative?

ZK: Being privileged to enjoy a significant portion of my childhood in Kenya, I spent a lot of time outdoors and developed a unique relationship with nature. From then on wherever I’ve lived or travelled to as an adult, distinct displays of flora, from the simple to the revered, have compelled me to pause and take a deep breath. Wild weeds by the side of the road, the blend of hues and forms in an overgrown garden, the texture of birch trees, a dreamy encounter with blooming Cherry Blossoms, reeds in a marsh, and the green-gold of Yellow Fever Acacias at dusk are a few such examples. I have to admit however, that very few facets of nature can move me in the way that only a few strange features have. I paint what causes that stir in my spirit.

AA: What do you seek for your audience to experience when viewing your work?

ZK: Whether iconic or non-figurative, my work is in a sense very vague. It’s simplistic. I like to think of it as conceptual or archetypal and that, rather than concentrate on the minutia or obvious tangibles, one might use the varied shapes and colours to dream a little, to allow their mind to wander, interpret and breathe. I want to produce work that is not only aesthetically pleasing but almost meditative by nature. I want you to have that Alice in Wonderland feeling, where your imagination takes over and everything feels a little whimsical.

AA: What is unique about your work?

ZK: Although I’m sure that indirectly many works of art have subconsciously influenced my style, I’ve never intentionally attempted to imitate any particular artist except for the Creator. I either go straight to the source, looking at a stem of wheat or white hydrangea for example, or I work from my imagination. My goal is to take the idea in my mind and get it down on paper just how I envisioned it. I feel like I have my own set of Photoshop filters in my head that I see things through and it isn’t always easy to get on canvas what my mind’s eye dreams up.

AA: If a poet or author were to paint in your style, who would that writer be and why?

ZK: Probably William Wordsworth. He was a poet who wrote for ordinary men about ordinary subject matter and he felt strong emotions in nature, especially during childhood, when I believe one can more easily see things for what they are. He saw the interconnectivity between all things. He spoke about “emotion recollected in tranquillity.” That’s the feeling I hope my work inspires. Wordsworth imagined the moorlands breathing down his neck. He imagined a cliff chasing him across moonlit water. Nature was animated - spirited. I feel that the ethereal way in which I depict certain natural scenes might have resonated with him. His poetry is without a doubt an inspiration to me.

AA: Is there a territory you want to move into as an artist but struggle to do so?

ZK: I’ll start on a positive note and say that my strengths are colour and texture and I believe that most of my work appeals to my audience because of the combinations I use. As for my weakness, I love Venice for example, but really struggle with perspective and proportion as it relates to buildings. I want to be able to master the narrow alleyways, to perfect those charming apartments in those dark lanes. I need the confidence to dedicate some solid time to a trial and error phase.

AA: Artists have a reputation of being a little eccentric - do you think this is true and why/why not?

ZK: I love that people operate at such different frequencies. Had I never met other artists however, I might have suffered from more loneliness than I’ve known. I think as artists, we might just perceive the world just a little differently from a lot of other people. Not only does it seem as though we perceive light and colour differently but perhaps it comes from a unique sense of emotional intelligence. We seem to focus or tap in to an assortment of feelings. We observe different things within our surroundings. Perhaps we’re sensitive to different stimuli. To be honest, I can’t say where exactly it stems from but in my experience, most of the artists I love are considered a little ‘off’ for sure and I too benefit from the license we are granted to be a little left field. I can stare at the shape and colour of a tree for a long stretch and never wonder about its nomenclature. From the passenger seat of a car, I’ll point my finger in the air and follow the outlines of certain plants. That’s usually when the person in the driver’s seat asks “What’s wrong?” I think a lot of artists seem eccentric only because they are misunderstood.

AA: Why did you decide to pursue a career within the industry?

ZK: People have always remembered me as someone who enjoys painting. I’ve always felt strange when there hasn’t been a canvas lying around for me to play with. I painted throughout high school and university but never collected any of my work. My friends would take my pieces home. You know who you are.

Last year, when I made the switch from Recruitment to Education, I was working at a career college in Toronto advising potential students about their program selection and career path. Both my boss and the president of the campus could see that I missed living in Kenya and encouraged me to come here and test the waters. I came here six months ago to see if I could do it.

While scoping the scene for new opportunities, I continued with my painting. The amount of people who took an interest in my work was a little surprising. Friends and friends of friends encouraged me to sell my art. People wanted decorative abstracts for their homes and offices and they insisted on paying for them. I started keeping a list of the requests that I got and told myself that if the list kept growing, I might be able to come back and start a little project. I went back to Canada and the interest in my art continued to rise. Word of mouth travels at hi-speed in Kenya and I received quite a few emails from people who wanted to purchase pieces similar to what they saw here and there. Essentially, they wanted to commission me to create art for them.

I’ve written motivational articles about taking what you love and incorporating it in to your career. Well, as you can see, I’m back now, following my own advice. There’s a lot of potential in Kenya, especially on the creative front, and I’m interested to see what kinds of things I’ll get up to within the Arts realm here. It seems there’s a heightened sense of awareness lately, socially and politically, and the art scene is really evolving. It’s really exciting and I genuinely believe that there’s a lot to contribute.

AA: How confident are you when presenting your work to the public and how do you handle negative critiques?

ZK: Because art is subjective, it’s quite important to be secure in what you do. Whether it’s at an exhibition, displayed online or presented directly to a client, it’s always a little intimidating to have your work out there. You’re vulnerable to criticism. It’s natural that sometimes you feel it’s an extension of yourself being judged. I believe it can be. That’s just the nature of the beast. However, I’ve also seen that two different clients can often have opposite reactions to the same piece and so, although it’s difficult, I’ve learned not to take things too personally. It’s about finding the right match between abstract and client. It’s a little like what I did in recruitment; making that match between employee and corporate client, except this is so much more my style!

When it comes to critiques, I don’t close my ears to the comments I hear. I like to listen and take in the suggestions that I think might be fun to pursue. I’m also really blessed to have supportive people around me who sincerely appreciate a lot of my work and are the reason I gained the confidence to make this project a reality.

AA: Does creativity run in your family?

ZK: Absolutely! My dad is a former musician who ran a renowned music studio and school in Westlands. My brother is a singer/songwriter who owns a successful design consultancy firm with his wife abroad. My mom played a big role in bringing fashion to Kenya with her boutiques. We’re actually all inclined toward artsy and innovative professions.

AA: Besides painting, what else have and would you dabble in?

ZK: I‘ve worked a long stretch in recruitment and selection but secretly pined move in to a more creative field. Like I said, I’ve been advising my clients to pursue their passions for so long and it’s really the time now to practice what I’ve preached. It’s a passion project and I’ve given myself a year to see how I progress. I enjoy writing as well and hope to one day combine my passions and produce some art-writing or may be a novel based in Africa. I’ve been asked this question a lot and there’s just so much I hope to do. I’ll also admit the long list is ever changing with just a handful of undeviating, permanent goals that I won’t compromise. I think that’s normal, if normal exists.

AA: What (if anything) do you want from your audience?

ZK: I most enjoy when a client wants to buy an existing piece but for those looking for that perfect design for their home or office, it’s always a pleasure to deal with someone familiar with my work and of course those who like my technique. It’s best when a client trusts me and then gives me the autonomy to produce something great. I like to visit their space first and really get a feel for the surrounding colours and design. The goal is to produce something that gives the room a lift while being congruous with the environment.

When commissioned to create a piece, I like working with those who genuinely appreciate abstract work and aren’t always asking, “What is it?” You have to be positive and open-minded. I want you to enjoy my work as I strive to produce art that will enchant a space. I think we can all admit to being a little impatient sometimes but a worthwhile piece takes time and positive energy. I want to create paintings to share those special details in nature we sometimes forget. I hope to be able to do that for you.

For more visit www.theresembleproject.com

Your Comments

Joe Pollitt: Canada is so lacking in literary talent that those that can construct a full sentence without making a mistaque are considered worthy of literary applause... ZK I like your work but give it a unique name. One that doesn't reflect a European past but more a dual present of both Canada and Kenya. Call is something like, "Canyan Smudge Art". The ball is in your court. All the best, Joe

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