Bigindicator

Furrah Syed

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Untitled (NYS8R6), 2008 Acrylic on Canvas 24" X 24" © Furrah Syed
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Untitled (MTS7R1), 2008 Acrylic on Canvas 42" X 36" © Furrah Syed
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Untitled (NYS8R1), 2007 Oil on Canvas 47" X 57' © Furrah Syed
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Untitled (TXS1R1), 2006 Papier-mache With Oil on Canvas 36" X 24" © Furrah Syed
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Untitled (NYS8R7), 2008 Acrylic on Canvas 42" X 36" © Furrah Syed
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Untitled (TXS1R5), 2006 Oil on Canvas 22" X 15" © Furrah Syed
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Untitled (TXS1R7), 2007 Oil on Canvas 24" X 24" © Furrah Syed
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Untitled (NYS8R8), 2008 Acrylic on Canvas 24" X 24" © Furrah Syed
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Untitled (AZS4R2), 2006 Oil on Canvas 30" X 30" © Furrah Syed
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Untitled (CAS5R8), 2007 Acrylic on Canvas 24" X 24" © Furrah Syed
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'Explosive Energy', 2009 Acrylic on Canvas 36" X 36" (91cm X 91cm) © Furrah Syed
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Untitled (MAS9R2), 2009 Acrylic on Canvas 24" X 24" (61cm X 61cm) © Furrah Syed
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Untitled (MAS9R1), 2009 Acrylic on Canvas 24" X 30" (61cm X 76cm) © Furrah Syed
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Untitled (FS-EW-02), 2010 Acrylic on Canvas 47" X 57" © Furrah Syed
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Untitled (FS-BH-1101), 2011 Acrylic on Canvas 47" X 57" © Furrah Syed
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Untitled (FS-EW-03), 2009 Acrylic on Canvas 24"x33"x1" © Furrah Syed
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Untitled (FS-AH-01), 2011 Acrylic on Canvas 24"x30"x1.5" © Furrah Syed
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Untitled (FS-EW-11), 2010 Acrylic on Canvas 24"x24" © Furrah Syed
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Untitled (FS-EW-10), 2010 Acrylic on Canvas 18"x24" © Furrah Syed
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Untitled (NYS8R3), 2008 Acrylic on Canvas 48" X 36" © Furrah Syed
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Untitled (NYS8R3), 2008 Acrylic on Canvas 48" X 36" © Furrah Syed
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Untitled K1, 2012 Acrylic on Canvas 60cm X 50cm © Furrah Syed
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At work in Studio
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Quick Facts
Birthplace
London
Birth year
1968
Lives in
London
Works in
London (UK),
Schools
University of North London
Central Saint Martins - UAL
Representing galleries
State-of-the-Arts Gallery (for the Hong Kong Region), East & West Art Gallery (for the Australia region)
Tags
contemporary mixed-media modern abstract, arts-education painting, mixed-media, modern, abstract
Statement

For me the experience of putting to canvas what comes from within is exhilarating. The intense satisfaction I feel each time I complete a canvas is both fulfilling and nourishing.  I feel a strong sense of achievement once my thoughts have been effectively transmuted into an abstract representation of colour, movement and texture.  I am inspired primarily by the amazing and multifarious facets of nature, and also by the diverse spectrum of people, architecture food and clothing that I have encountered on my many travels. My adventure with each abstract canvas begins with a specific combination of colours.  I am very loyal to the colours I use, taking extra care to allow each one to be expressed in its pure form and not be diluted unnecessarily. Each shade has its own right to play a part on the canvas and this is what I aim to achieve each time I start a new piece.  For me, it is wonderful to put colours together that evoke a reaction from the viewer; like it or not, we all have subliminal views on which colours match with each other – I enjoy challenging these views.

Art is not a static representation. The movement that I depict and capture in each of my abstract paintings is what creates the thread of narrative that anchors my work.  I try to link each section; this results in a series of connections that are caught up in the strong currents of each painting, thus generating their own source of visual energy.

Textures are vital to my work. I actively encourage my audience to go ahead and feel the surfaces of my paintings; interestingly, this invitation always evokes a reaction of disbelief from the viewers as they are invariably surprised to be given the opportunity to actually touch a piece of art. This additional sensory approach adds another dimension to the viewers overall experience.  The feedback from viewers on their experience of 'feeling' my art led me to question what it would be like for a blind person to 'experience' my art?  After a few focus group sessions, I devised and further developed my 'Art Appreciation Workshops for the Blind or Partially Sighted', which I now run globally in collaboration with organisations that support the visually impaired. I love conducting these workshops as I passionately believe that art should be accessible to ALL, including those who may not be able to actually see it.

Experimenting with mixed media, such as sand, papier-mâché and wax, has produced some exciting textures that I have enjoyed marrying with traditional oil & acrylic paints on the canvas.  It also reflects my personal philosophy that art should be dynamic and interactive; the relationship between colour, movement and texture is the platform for creating an experience that is uniquely personal and intensely vivid for each viewer.