Zeyno Arcan is not a painter. Zeyno Arcan is a medium. A channel through which the flux of life passes and opens out to resound in her works. “The function of art is not to produce nature,” Balzac famously claimed, ”but to interpret it”.
But Zeyno Arcan no more produces reality than she interprets it.
She brings it to light.
Quite literally. Light radiates from the canvasses and from the artist’s vision. A light that is present everywhere, even at the obscure margins of the real. A light that only a narrow, ailing, partially amputated vision fails to grasp. A light that Zeyno Arcan ceaselessly pursues, observes and tames like a lover in order to capture it and give it to those of us who aren’t able to see it. This is why Zeyno Arcan is a medium, a superconductor of reality. You only have to see her at work. You only have to listen to her speaking about her work that is her life and her life that is her work.
But more importantly, you have to take a look at her painting which tells the story of a quest: how to find the spirit in matter? Not beyond it, but through it?
Like a reflection of what she looks for and the place where she looks for it, Zeyno Arcan’s canvasses themselves are an accumulation of matter, a superposition of layers, imprints, memories of bodies, assemblages of fabrics and veils that transform the picture’s two-dimensional plane into a space with depths, transparencies, levels and contours.
Beyond the support treated in this way, the subject matter itself is substance, and a noble one at that: the human body. A body in all its states, in all its genders, one should say, for the dualism of masculine/feminine is at the heart of the project. But the strength of Zeyno Arcan’s work is to transcend this purely descriptive biological fact to reveal the complementarity and even the unity of the human being beyond sexual differentiation.
Thus, by intuition and creative inspiration, she concurs with the works of Jungian psychology and with those of recent American theories of race and gender. The masculine and the feminine are social and cultural constructs unlinked to the biological determination of sex. Rather than being a fixed norm, a reduced binary choice, human identity is a gallery where individuals construct and deconstruct fluctuating identities, all of which lie within the fundamental unity of an Eros that is masculine and feminine at the same time.
Finally – perhaps primarily – what is most touching in this pictorial exploration of identity is the way it uses matter to access spirit and feeling. For as she works through new approaches, techniques and exploits, Zeyno Arcan never stops asking the same question, over and over: What is the ineffable mystery, the spiritual secret not spoken by words but expressed by the body? And does there exist in the anatomy, the superposition, the fusion or the entanglement of bodies a form (the form) of love?
If one had to apply a scholarly term to this ambitious and exalted undertaking, one might speak of morphophychology. But it can be fittingly described using one of the simplest and most beautiful of words, a word that is love itself: tenderness.
I’m a German woman painter and I’ve been working my sceno-graphic paintings for more than 20 years.
My first artistic education was dance at Pina Bausch’s school in Essen, which definitively influenced my approach of art.
I started to study fine arts and graduated from the Kassel Art school with an immense work about the dance in the painting.
Than I fixed my studio in Paris for some years where I worked with actors and dancers on my canvasses in order to create complete scenes in dozens of liters of fluid paint, a powerful and very personal mixture of Pollock’s action-painting and Yves Klein’s body-prints, before going to the south of France where I wrote two important essays about the “meaning of art and meaning my work” in connection to my heritage of German expressionist dance (Mary Wigman, Pina Bausch, Susanne Linke) and contemporary painting (Pollock, Klein and Bacon). Thereafter I graduated as a doctor of Philosophy and Aesthetic (Es Ars) in Paris.
My faith in the transcendental power of art increases with every proof I make in my researches by writing or painting. My work simply contains love, empathy and faith in humanity – because I am full of love. Once I was asked why I have become an artiste and I answered : thats my way to make love to the world. …Read More
Doctorat en Arts et Philosophie, « EMPREINTE EMPRUNT ET IMPRESSION. Vers une peinture scénographique, sur les traces de Pollock, Klein et Bacon », Université Paris 8, très honorable avec félicitations unanime du jury
DEA/Masters en Arts et Philosophie, « Da la notion de Vie dans la danse expressionniste de Mary Wigman au Signe de Vie dans mon travail pictural », Université Paris 8, avec mention très bien
Formation en Analyse transactionnelle, le 101 au Centre Européen de Psychologie Intégrée – Paris avec Georges Escribano
Etudes de communication visuelle à l’Ecole supérieure des Beaux-Arts de Kassel. Travail avec Peter Weibel, Gunter Rambow, Floris Neusüss, Paul Driessen, Jan Lenica entre autres
Diplômé en communication visuelle de l’Ecole supérieure des Beaux-Arts - Université de Kassel avec mention très bien
Ecole des Beaux-Arts de Toulouse (bourse d’études)
Etudes de danse à l’Ecole supérieure de Danse, Musique, Théâtre « Folkwang » de Essen, Pina Bausch, Susanne Linke, Hans Züllig
Bac au lycée artistique de Essen Werden
PRIX ET BOURSES
· 1er Prix de la Ville de Marcigny, Biennale de Marcigny (Bourgogne)
· 1er Prix du Trophée C.H.E.N.E. Arts visuels pour Signes de Vie, Montpellier
· 1er Prix de la jeune peinture, Espace Delacroix, Charenton (94)
· Bourse de résidence d’atelier, Agence de communication Roberts, Kassel, Allemagne
· Bourse d’études de l’office franco allemand DAAD (ERASMUS) pour l’école des beaux-arts, Toulouse
· 1er Prix de la Master Eagle Gallery, « A shout in the eye » New-York
· Bourse de voyage d’études de l’office franco-allemand DAAD (ERASMUS) pour Barcelone, Toulouse, Paris …Read More