Interview
Omar Kazi Zafar
Born in Bangladesh with adopted Greek nationality, Zafar infuses his vibrant multicultural background and decades of diverse proffesional acumen into his artistry. Educated in India and the USA, his upbringing enriches his multifaceted artistic vision. By blending insights from historical legacies and contemporary milieu, his innovative "hyper-eclectic" abstract paintings offer incisive socio-economic and political commentary. Employing a heuristic approach akin to scientific inquiry, Zafar strives to further the boundaries of his craft, transcending the prevailing stagnation induced by the ubiquitous adherence of 20th-century artistic paradigms in contemporary painting. Delving into the essence of painting and intricately dissecting its elements to uncover profound and uncharted conceptual dimensions, his abstractions defy geographical and cultural confines, seamlessly amalgamating diverse influences through radical methodologies.
After earning a BFA from Clark University in 1996, Zafar moved to New York showcasing his work in alternative spaces and securing a grant from Artist Space. His artistic journey later led him to Athens in 2000, where he actively participated in curated group exhibitions and held his second solo exhibition at the Statement gallery titled “Painting…” in 2003. Despite a twenty-year hiatus, he has now returned to the art world with renewed vigor and fresh perspectives. While rooted in figurative art, Zafar's breakthrough with his interactive magnetic paintings in New York marked a transformative phase towards abstraction, culminating in his distinctive "colorless paintings." This also led him to explore the physicality of the paint material, surpassing the painting surface. Inspired by the audacious experimentation of the Modernists, Zafar's abstract compositions exceed mere homage, by additionally offering profound allegorical insights into current and contradictory realities that enrich the artistic discourse. Amidst contemporary aesthetics, Zafar ascends mere appropriation through innovation, embracing the paradoxes of his cultural identity and the zeitgeist of his era. Thus, evoking a 'global' spirit of innovation, resonating within each of us.
What is your background and how did you start your journey in the art world?
“I was born in Bangladesh and have since adopted Greek nationality, embodying a unique cultural blend of East and West. I believe the vibrant and chaotic culture of Bangladesh, with its mosaic of millions of people, has significantly shaped my artistic development. This rich heritage, combined with my multicultural upbringing at an American International boarding school and eventual settlement in Greece, has profoundly influenced my eclectic painting style. After completing my schooling in India, I earned a Bachelor of Fine Arts with Highest Honors from Clark University in Massachusetts, USA, in 1996. Immersing myself in the vibrant art scene of New York City, I gained firsthand experience in the contemporary art movement, realizing that this was where my artistic voice belonged. This was during the post-YBA (Young British Artists) era, when contemporary art was gaining mainstream recognition globally.
During my time in New York, I taught art to children at various schools and exhibited my work in alternative venues. Although the city deeply inspired me and garnered some recognition, including interest from curators at Artist Space, family circumstances necessitated my move to Athens, Greece. In Greece, I lived for several years and showcased my work in various galleries. However, by 2003, I had to return to Bangladesh to join the family business. Despite stepping away from the art world, I continued to observe and reflect on the contemporary art discourse. Realizing that my paintings, even after 20 years, remained relevant to contemporary discussions, I gradually decided to make a full return to art. I feel a profound urge to share the discoveries I have made in painting and to explore the endless possibilities that this genre still holds for further development.”
What inspires you?
“Initially, my foremost inspiration was rooted in art history and its discourse, specifically how I, as an artist, could contribute to the evolution of painting as a genre. I have always been captivated by the ways in which artists of antiquity, such as Botticelli and Michelangelo, endeavored to transcend the confines of tradition and introduce new vocabularies and styles to art. The Modernists, including Picasso, Kandinsky, Malevich, and Duchamp, as well as the Bauhaus movement and Abstract Expressionists, have profoundly influenced me. Their willingness to take significant risks and develop new artistic languages and grammars not only advanced their craft but also propelled culture toward modernity and contemporary expression. Furthermore, I draw inspiration from conceptual art and minimalism, recognizing their enduring impact as foundational elements of contemporary art even after fifty years. As my work evolved, I began to integrate influences from my diverse cultural identity and heritage, which naturally permeates my art. The pressing socio-economic challenges and the pervasive global disorder have also significantly shaped my artistic perspective. Additionally, I find inspiration in science, particularly the mysterious realms of quantum and microscopic worlds, which continually fuel my creative exploration.”
What themes do you pursue? Is there an underlying message in your work?
“My work challenges and explores further possibilities in painting, within the context of its history and contemporary culture. The history of painting is a treasure trove filled with timeless concepts, which I harness to push boundaries heuristically, much like a scientist in constant pursuit of discovery. In an era where contemporary art burgeons with innovation across sculpture, installation, video, and new media, painting languishes in a state of inertia. Despite its ongoing appeal for commercial and decorative purposes, the genre seems trapped within the confines of contemporary convention, treading a well-worn path. Contemporary painting has seemingly relinquished its capacity to astonish and evoke the primal sensations of bewilderment and awe that once reshaped our perceptions. The audacity and madness inherent in pushing artistic boundaries have faded, replaced by the pursuit of a "cool" contemporary look. What was once a tumultuous journey, marked by daring leaps into the unknown, has now become a predictable cycle of conformity and acceptance. The phenomenon of "contemporary eye candy" predominates, where paintings are valued more for their immediate visual appeal than for their lasting contribution to artistic discourse.
Aside from commercial viability and the expected prowess in eliciting emotional responses and cultural resonance, shouldn't contemporary painting aspire to even greater heights? Shouldn't it seek to defy expectations, break new ground, and steer the course of artistic progression? It seems that all the paint bestowed upon antiquity and further enriched by 20th-century modernists has been exhaustively squeezed out through postmodernist appropriation. Despite a recent resurgence in painting, fueled by clever utilization of modernist/postmodernist tools, pop culture references, and socio-political commentary, these efforts often culminate in mere echoes of past paradigms masquerading as innovation. Painting’s commercial success has masked its failure to truly evolve artistically. Consider the analogy of a circle representing contemporary painting. This circle is replete with an infinite array of techniques and ideas, masterfully employed by artists to create distinctive signatures and permutations. While there are occasional glimpses of sculpture, installation, and tech-inspired paintings, and despite the brilliance of many contemporary works, the diameter of this circle of painting has remained unchanged for a considerable time. In contrast, the circles representing sculpture, installation, and other media arts have continuously expanded, incorporating new rules and concepts, thus surpassing the static circle of painting. As a result, the circle of painting appears smaller, potentially lagging and losing relevance in the context of the new global cultural paradigm. As the circle of painting remains unchanged, contemporary painting grapples with a crisis of stagnation, teetering precariously on the edge of banality.
Contemporary paintings conceptual dept seemed too conservative and outdated for me. I yearned to break out of the confines of the contemporary sphere of existing rules and expectation of painting by trying differently. I wanted to find ways to paint more akin to my times, believing that painting still had much more to offer. I refused to accept the notion that the modernists had completed the artistic endeavor, relegating contemporary painters to the role of mere appropriators. Delving into the essence of painting, I confronted and questioned its intrinsic nature - the quintessence of its “high art” with its rich vernacular, form, and methods inherited from modernists and masters of antiquity. Rejecting the allure of mere contemporaneity, I embarked on a quest to excavate the conceptual core of painting and reconstruct it with relevance to our 21st-century milieu. Presenting a collection of eclectic paintings, I aim to capture the incongruities of our globalized, hyper-pluralistic world marked by incessant innovations amidst socio-economic and political instability.
Beyond traditional static canvases, my work extends to interactive magnetic paintings that transform painting into a tangible, enduring performance, engaging audiences in a democratic dialogue with art. These magnet-friendly democratic paintings embrace a philosophy seamlessly integrating ancient Greek ideals into contemporary society.
In a quest for further possibilities, I departed from the stark finality of black and white pigments, choosing transparent mediums that, once dried, organically form their own bodies without surface confinement. Transparent silicone paintings serve as a metaphor for the pervasive permeability of today's interconnected world and symbolize the decolorization of race. Delving into colorless abstractions, the "invisibility" inherent in these works mirrors my inconspicuousness in the art world, resonating with the plight of the marginalized.
Surface-less paintings become reflective canvases for my quest for recognition, metaphorically aligning with the challenges of displaced humanity. The voluminous, extruded interplay of colors in the "surface-less paintings," in wired-up compositions, speaks to the complexity of our entangled lifestyles in today's interconnected post-collapse world. These works transcend established confines, challenging painting's limitations through the harnessing of its physicality, unlocking yet another parallel between the new uncertain order and the realm of art.”
How would you describe your work?
“My work is highly experimental, with my studio functioning as a laboratory where I continuously push myself to explore new methods and ideas. Although many of my experiments remain unrevealed and in development, I have redeveloped three primary styles that I first established 25 years ago. These are Interactive Paintings, Colorless Paintings, and Surfaceless Paintings. Each style has a distinct approach but shares an underlying message reflecting our contemporary disposition. Interactive Paintings Interactive Paintings transform the conventional static nature of painting by engaging viewers to actively alter its appearance. Reflective of painting's evolution in the digital era, these works emphasize user interaction, integrating the role of spectators in shaping the artistic narrative. This transformation initiates a paradigm shift, dismantling the boundaries between artist and audience, and granting viewers the power to reshape a painting’s composition at any given moment.
An evolution unfolds as painting morphs into an immersive performance, intricately molded by the audience's discerning choices. The artworks embrace a "composition-less" state, reflecting life's inherent unpredictability and fluidity, as well as contemporary disorder. This democratic evolution empowers spectators, echoing ancient Greek philosophies seamlessly integrated into modern society. Creative responsibility transcends the artist's burden, shared and transposed onto viewers, fostering collective engagement in the artistic process. In sync with our age of scientific advancements, the paintings, echoing 'Quantum Entanglement' theory, transition between adjacent counterparts via interactive displacement, adding to the intrigue and enigma. Gravity too yields to voluminous strokes of contrasting colors, hovering weightlessly on steel canvases, further enhancing the artworks' allure. Each magnetic piece, a distinct artwork by itself, can be individually placed on any magnetic surface, defying the intrinsic identity of a singular painting and enriching its lexicon with a compelling layer of complexity. The displaced magnets, emblematic of our turbulent world, gracefully embody its chaotic essence.
As viewers evolve into proactive creators, they embark on a profoundly intimate encounter, establishing a fully consummated connection with painting. These paintings epitomize how we craft our own intricate, yet delicate and confused state of existence.
Colorless Paintings overturn the 'endgame theory,' directly challenging black or white as the final and definitive pigments of abstraction. By abandoning color and pigmentation, these paintings render the medium entirely colorless. Working with transparent mediums devoid of any pigment, I developed a method allowing transparent silicone to form its own body once dried, free from surface confinement. The paintings' transparency serves as a poignant reflection of the pervasive permeability defining today's interconnected world. Metaphorically, it signifies an aspiration for the de-colorization of race.
Exploring the sensations derived from the interplay of light, texture, and void, I juxtapose contrasting translucent and transparent mixes of smooth and coarse gestures amidst void negative spaces. The layered extemporaneous brush strokes induce pure abstract expression, untainted by the bias of any color. The absorption of surrounding shifting light and hues enriches the paintings with omniscient and transformative qualities, turning them into ethereal entities that envelop the viewer in a captivating spiritual ambiance. The "invisibility" inherent in these colorless abstractions parallels my own inconspicuousness in the art world and resonates with the plight of the impoverished and marginalized, bereft of socio-economic and political influence.
Surfaceless Paintings unbind painting from its limited confines, allowing the paint material to autonomously forge its own surface, free from the need for canvases or other substrates. This approach delves deep into the nuances, tactility, and emotional resonance inherent in the paint material, pushing against its limitations and harnessing the raw power of its physicality. The inception of this concept occurred 23 years ago, sparked by the revelation of the unique and potent essence formed by dried, peeled-off paint material on the studio floor.
Initially, this recycled material was suspended on wires. Recognizing its potential, further experimentation ensued, incorporating various household gloss and acrylic paints. More recently, new types of acrylic elastomeric caulk paints have been utilized to further embrace the "Surfaceless" concept. Spontaneous gestures produce abstract swirls and blobs of contrasting paint, which hang dry amidst void negative spaces. This technique provides a novel approach to the process of painting, fostering newfound spontaneity. The absence of any surface, coupled with the interplay of dried paint suspended within negative spaces, cultivates a unique and intensified encounter with abstraction. The "surfaceless" paintings serve as a reflective canvas for my own sense of foreignness and quest for validation within the art world. Metaphorically, they resonate with the plight of displaced humanity in contemporary global affairs. At times, the dried paints find a home within stretcher bars, encapsulating a narrative of the evolution of painting. The voluminous, extruded interplay of contrasting colors, arranged in a wired and somewhat cabled composition, mirrors the intricacies of our interconnected and entangled lifestyles. This essay presents a cohesive narrative about the theme and underlying message in my art, highlighting the distinct yet interconnected styles of Interactive Paintings, Colorless Paintings, and Surfaceless Paintings.”
Which artists influence you most?
“My art is influenced by many artists, as I study their art continuously. These are few names of artist whom I take inspiration from, the audacity and their courage to try new ways to conducting and creating art. Bottocelli, Michealangello, then the Modernists such as Picasso, Kandinsky, Kasmir Malevich, Salvador Dali and then by the abstract expressionist, Jackson Pollock, William De Kooning, Mark Rothko, Bram Bogart and then the minimalists such as Agnes Martin, Donald Judd, Frank Stella, Elsworth Kelly, Pierre Sullage, Robert Morris, Bridget Reilley then the contemporary artists such as John Michel Basquiat, Julian Scnabble, Anish Kapoor, Damien Hirst and other YBA artists, Jeff Koons, Mariana Abramovic, Mathew Barney, Maurizio Cattelan, Ann Veronica Janssen, Olafur Eliasson, Bernard Frieze, Jacquiline Humphries conceptual artist such as Sol Le Witt and Joseph Kosuth. There are no many more in perhaps.”
“My work challenges and explores further possibilities in painting, within the context of its history and contemporary culture.”
What is your creative process like?
“My creative process is a dynamic and exploratory journey, driven by a desire to innovate and transcend traditional boundaries. My studio functions as a laboratory where I continuously push myself to explore new methods, materials, and ideas. This phase involves a lot of trial and error, as I'm not afraid to venture into uncharted territories to discover novel techniques and expressions. Each of my artworks starts with a strong conceptual foundation. I reflect on various themes such as the history of painting, contemporary socio-economic issues, technological advancements, and personal identity. This conceptual groundwork helps me shape the direction and purpose of my work, ensuring that each piece is not only visually striking but also intellectually and emotionally engaging.
I experiment with a wide range of materials and techniques, from traditional paints to modern synthetic mediums like silicone and acrylic elastomeric caulk. This involves meticulous testing to understand how different materials behave and interact. I've developed unique methods to allow materials to form organically, such as letting transparent silicone create its own body without surface confinement. A significant part of my creative process involves thinking about how viewers will interact with my work. I design pieces that invite audience participation, transforming viewers into co-creators. This interactive element is meticulously planned to ensure it adds depth and complexity to the artwork, reflecting contemporary themes of engagement and democratization in art.
Throughout my creative process, I continually reflect on my work, assessing its impact and resonance. I refine my techniques and concepts, often revisiting and redeveloping earlier styles to enhance their relevance and potency. This iterative process ensures that my work evolves and adapts, staying relevant to contemporary discourse. When I feel confident in my experimental and conceptual groundwork, I move to the execution phase. This involves the physical creation of my artworks, where I apply my refined techniques and materials. Once my work is completed, I engage with my audience through interaction and displays. I observe how viewers interact with my pieces and gather feedback, which informs my future projects. This ongoing dialogue with my audience is crucial, as it helps me understand the broader impact of my work and its place within contemporary art.
My creative process is characterized by a continuous cycle of learning and growth. I stay informed about developments in the art world, science, and technology, incorporating new insights into my practice. This commitment to lifelong learning ensures that my work remains innovative and forward-thinking. My art is influenced by many artists, as I study their work continuously. The audacity and courage they displayed in trying new ways to conduct and create art deeply inspire me. For instance, Botticelli and Michelangelo’s mastery of form and narrative push me to consider the historical context and technical prowess in my own work. The Modernists such as Picasso, Kandinsky, and Kazimir Malevich challenge me to break away from representational art and explore abstraction and form. Salvador Dali’s surrealism encourages me to delve into the subconscious and dream-like aspects of my art.
The Abstract Expressionists, including Jackson Pollock, Willem de Kooning, and Mark Rothko, inspire my exploration of spontaneity and emotional depth in my paintings. Rauschenberg’s assemblages, in combination with the audacity of the Pop artists, provide me with inspiration. Bram Bogart’s textural works influence my use of materials to create physical and tactile qualities in my pieces. Minimalists like Agnes Martin, Donald Judd, Frank Stella, and Ellsworth Kelly teach me the power of simplicity and precision. Their work encourages me to strip down my art to its essential elements, focusing on form and structure. Pierre Soulages’ use of black and his exploration of light and texture have directly assisted me in developing techniques and vocabulary for my Colorless Paintings. Robert Morris’ industrial materials push me to experiment with unconventional mediums, while Bridget Riley’s optical art influences my interest in perception and visual dynamics. Contemporary artists such as Jean-Michel Basquiat and Julian Schnabel inspire my integration of graffiti and raw expression in my work. Anish Kapoor’s exploration of the spiritual aspects and cross-cultural referencing deeply influence my work, encouraging me to integrate diverse cultural elements and profound themes. Damien Hirst and other Young British Artists (YBAs) inform my conceptual development with their provocative themes. Jeff Koons, a separate artist from New York, impacts my understanding of the commercial and playful aspects of contemporary art. Performance artists like Marina Abramovic and Matthew Barney inspire my interest in the performative and interactive aspects of art. Conceptual artists such as Sol LeWitt and Joseph Kosuth challenge me to prioritize ideas and concepts over traditional aesthetic values. In essence, my creative process is a blend of scientific experimentation, conceptual depth, and interactive engagement. It reflects a commitment to pushing the boundaries of painting, exploring new possibilities, and creating works that resonate with contemporary issues and audiences. This dynamic and reflective approach ensures that my art is not only innovative but also deeply meaningful.”
What is an artist’s role in society and how do you see that evolving?
“Artists are the custodians of culture, preserving and interpreting the past while pushing the boundaries of what is possible. By studying and being inspired by great artists like Botticelli, Michelangelo, Picasso, and others, we honor the artistic traditions and narratives that have shaped our cultural heritage. At the same time, we innovate by exploring new techniques and forms, as seen in my work with interactive, colorless, and surface-less paintings.
Art serves as a powerful medium for social commentary. It can critique societal norms, highlight injustices, and bring attention to socio-economic and political issues. Through my own work, I aim to reflect on the turbulent essence of our contemporary world, addressing themes such as displacement, identity, and the complexities of our interconnected lives.
Art has the unique ability to evoke deep emotional responses and provoke thought. By creating works that challenge traditional boundaries and invite viewer interaction, artists can engage audiences in meaningful ways. My interactive paintings, for instance, transform viewers into co-creators, fostering a deeper connection and engagement with the artwork.
Artists are often at the forefront of innovation, exploring new materials, techniques, and concepts. This experimental approach is crucial for the evolution of art. My use of transparent silicone and other unconventional materials exemplifies how artists can push the physical and conceptual limits of their medium.
In our globalized world, artists play a vital role in bridging cultural divides and fostering cross-cultural understanding. Inspired by artists like Anish Kapoor, who integrates spiritual and cultural references in his work, I strive to incorporate diverse cultural elements into my art, reflecting the pluralistic nature of contemporary society.
As technology continues to advance, the role of artists is expanding to include digital and interactive media. The incorporation of new technologies not only broadens the scope of artistic expression but also enhances the way audiences interact with art. My interactive paintings are a step in this direction, embracing the digital era's possibilities.
The evolving role of artists involves creating more participatory and immersive experiences. By designing works that invite audience interaction, artists can democratize the creative process and make art more accessible and engaging. This shift towards interactivity is evident in my work, where viewers actively alter the composition and meaning of the pieces.
Contemporary artists are increasingly mindful of sustainability and ethical issues. This includes using environmentally friendly materials and addressing global concerns through their art. As artists, we have a responsibility to consider the impact of our work on the environment and society, ensuring that our practices align with broader ethical standards.
The boundaries between different artistic disciplines are becoming increasingly blurred. Artists are combining elements of visual art, performance, installation, and digital media to create hybrid forms of expression. My surface-less paintings, for example, challenge traditional notions of what constitutes a painting, blending aspects of sculpture and installation.
The role of artists is also evolving to include greater collaboration and influence on a global scale. Artists are connecting across borders, sharing ideas, and collaborating on projects that address universal themes. This global perspective enriches the artistic dialogue and fosters a more inclusive and diverse art world. In summary, the role of an artist in society is to be a cultural innovator, social commentator, emotional engager, and agent of change. As society evolves, so too does the role of the artist, incorporating technology, increasing interactivity, considering ethical implications, embracing hybrid practices, and fostering global collaboration. Through these evolving roles, artists continue to challenge, inspire, and transform society.”
Have you had any noteworthy exhibitions you'd like to share?
“My exhibition titled "Painting Beyond Painting: Forging unravered paradigms, taking place at Alibi Gallery, Athens, May 16th until June 22nd 2024. Visit my website to see the exhibition catalogue as well as my Instagram account.”
Website: omarzafar.com
Instagram: @ozafarstudios
