Presenting Pastness, 2023, 15 – 23 April, 2023 Art Outreach, Gillman Barracks, Singapore

2023

exhibition view

wide shot of 'from July...', 2023 (Double sided suspended work) 156 x 96 cm

wide shot of 'from May...'(backside), 2023 (Double sided suspended work) 156 x 96 cm

exhibition view

close-up of 'from May...' and 'from July...'

close-up of 'from May...',

close-up of 'from July...',

close-up of 'from July...',

from May 15..., 2022 Acrylic paint, medium, newsprint paper on canvas hand cut & burnt 115 x 76 cm Mounted & framed -140.5 x 93 cm

close-up of 'from May 15...'

from August 6..., 2022 Acrylic paint, medium, newsprint paper on canvas combination hand and laser cutting and burning 116 x 77 cm Mounted & framed -140.5 x 93 cm

close-up of 'from August 6...'

exhibition view

from April 26..., 2022 Acrylic paint, medium, newsprint paper on canvas hand cut & burnt 101 x 75 cm Mounted & framed -125.5 x 93.5 cm

close-up of 'from April 26...',

from June 25..., 2022 Acrylic paint, medium, newsprint paper on canvas combination hand and laser cutting and burning 101 x 75 cm Mounted & framed -125.5 x 93.5 cm

close-up of 'from June 25...',

from March 18..., 2021 Acrylic paint, medium, newsprint paper on canvas hand cut 65.5 x 53 cm Mounted and framed- 118x69 cm

from May 24..., 2020 Acrylic paint, medium, newsprint paper on canvas hand cut 36 x 33.5 cm

from May 24..., 2020

exhibition view

Project Description

“Presenting Pastness” is a solo exhibition that features Zoya’s delicately crafted cut-out works and an installation.

Details

Our memories of the past are not only from lived experiences but are also dominated by media information. The cut-out works in the exhibition refer to the fragile outcome of the works as a testament to the fragility of the juxtaposition of time, space, and fleeting emotions. The objects presented are a result of Zoya’s reflections during COVID restrictions in Singapore, as an emotive negotiation in relation to collected newsprint paper of that time. Exploring her personal filters and thinking about ruins, she drew inspiration from latticed ‘Jali’ screens, a historical architectural feature from India, to cut out geometric shapes through which the perception of the real and recorded may be filtered or fragmented. Using a combination of hand cutting, laser cutting, burning, scratching, and painting the surface of newspapers (pasted on canvas) from specific dates, Zoya explores the notion of ‘media as material’. This considers news media as a referent to past events that are under erasure in their representational form, drawing attention to their materiality.