‘Time Machine’ offers journey across cultures

“Time Machine” exhibition represents the latest evolution of critically acclaimed artist S.Zayasaikhan’s work...

“Time Machine” exhibition represents the latest evolution of critically acclaimed artist S.Zayasaikhan’s work.

At the new exhibition, Zaya explores the idea of subcultures through multiple series of thematic works. These new paintings depart from his previous works in technique, compositional styles, color and texture.

Zaya is motivated by the quest for culture and all groups within the larger Mongolian culture, seemingly sparse by comparison to the well-established subcultures in other countries around the world. At the core of his new work series is the question: What is Mongolian subculture? What is Mongolia’s place in the world now? It is rapidly transforming, leaving behind its nomadic past for an urbanized industrial future?

The exhibition will be on view until July 5 at Q Art Gallery in Bella Vista.

The artist gave an interview about his new exhibition “Time Machine” to the UB Post.

Seeing from your work, it is evident that your art is deeply intertwined with brass instrument music. Could you elaborate on the connecting between your work and brass?

First of all, I am somebody that likes music a lot. It’s not possible to imagine life without music. Brass and woodwind instruments are creation of art themselves. This concept is very interesting to me.

Another reason as to it is the 1921 revolution.

We were introduced to western cultures and there are historical photos of the first Mongolian ensembles where Mongolian children in deels are playing brass instrument. Perhaps those that were educated in the western countries were teaching it to them.

Seeing these photos intrigued me and I wanted to paint it at the moment of my first impression. As I started drawing them, I started learning about the different types of instruments and what they sound like. Eventually, I fell in love with the music too.

I also love to draw women. Perhaps humans are instruments themselves but also play instruments. Some people play boring and ugly music that is screeching, some just play and some may have never been tuned correctly either. Overall, to me, instruments are a very interesting work of art.

I’m sure that all the artwork that you have created are precious to you, but if you had to choose one as your favorite out of this exhibition, which one would it be?

Every piece of art is very important to me. They are a learning experience for me. Each exhibition is very important. I learn a lot every time, and I see myself transform as a human being. I evaluate myself and art exhibitions are like reports. You get to share who you are, what you have done, and what you are going to do in the future.

You have been hosting exhibitions since 2000. After 18 years of producing and sharing art, have you received any harsh criticisms? If you don’t mind sharing, what is the most common criticism?

As opposed to criticisms, I had a lot of harsh bias out to get me. Criticisms are fine. It’s important when people receive criticisms.

I haven’t had that many harsh criticisms. Some criticisms are necessary for the development of an artist.

As artists, we give each other criticism about each other’s work all the time. We know each other so it’s fine. I think artists are their own greatest critics.

People say that my art is great and beautiful, but sometimes when I look at it afterwards, it feels incomplete and I need to work on the intricacies more.

Would you please share the most encouraging words that you have ever heard?

Two years ago, I had an exhibition in Mongolia. An 18 or 19 year old girl came in as I was taking my exhibition down. She came in with flowers saying thank you a lot. She said that she wanted to tell me something and told me that I was presenting Mongolians to the world very well.

“Seeing from the outside world, we are known for gers, livestock, felt, and other things like that. But it does not seem that way though your art. It displays the modern life that we have. Why can’t a Mongolian woman wear a deel, and her designer clothes and ride a bike in the streets of Paris?” she said.

Did the girl’s comments help start this shift in you art where traditional and modern lifestyles are juxtaposed?

Yes, to a certain extent. I don’t really care that much about people’s compliments or insults, but perhaps it is good to listen to them sometimes. It helps determine what you are doing as an artist and what you will be doing in the future.

Of course as an artist, it is important to give pleasure to the eyes and minds of the audience, but sometimes we have to do the exact opposite and challenge their perception of the world.

Your exhibition consists of the imagery of voodoolooking dolls in many of the paintings. What is the symbolism or meaning behind them?

Like how I said people are like instruments, people are like dolls. They are dolls that are tied together, so dependent on one another.

People make the dolls and sometimes the dolls make dolls too. In that sense, some paintings have dolls that were inspired by shaman spirits and voodoo dolls to give it that ghostly element that they possess.

Are there any other reoccurring symbolisms that you have included in your exhibition?

For instance there is the painting of three gods. I didn’t call it gods in the exhibition but when thinking about it, humans have three desires.

The first one is the piece “Glory” and it has shapes of medals all over it. If you have seen photos of Korean generals, then you will see that they are basically covered in medals from head to toe. It is almost as if they would put it on their faces next.

The other one is “Love”. It has kiss marks which is one of the most iconic pop culture pieces out there. People want to be showered in love like that from head to toe.

The last one is “Wealth”. This is something that everybody wants as well. All three paintings are representations of god. These are in Mongolian art as well. Color-wise, it really pops.