Chayan Khoi: A cyber photographer extraordinaire

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Based in Paris, Iranian born Chayan Khoi is an artist known for his mysterious, futuristic, sometimes apocalyptic, images. He is an avid traveller fascinated by everything he encounters. This 50-year-old “cyber photographer” seeks to picture the beauty, diversity and unknown of the world. Below is “Return to the Jungle”, one of his most famous pieces and one of my favorites.

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Two recent works, unveiled at yesterday’s vernissage of Chayan’s latest exhibition in Geneva, remind me of Mad Max, Fallout and Mutant Chronicles. The submarine is docked to what appears to be a hidden, arctic research station. The mechanical sharks zooming around the l’arc de triomphe are bizarre and frightening. How intriguing!

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While I’m not sure what Chayan wants to communicate with these steampunkish pieces of beautiful stuff, I’m absolutely fascinated by how the frames, resembling some sort of command centres, leaves us with (at least) a remote feeling of being in control. Perhaps it’s a warning sign of what’s to come? Thank you for the heads-up, Chayan.

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And, what in the world is the silver bullet pictured above? Made out of what appears to be a surfboard, metal and electronics, this is the first thing that caught my eye when stepping into Le New Garage. I’m a sucker for science fiction. Chayan’s spaceship (or perhaps it’s the submarine?), blinking in sync with the rest of the room, makes me feel at home.

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I love scrapbooks. But I have never seen any like the ones pictured above. Reflecting his life as a nomad, traveling nine months each year, these piles of memories tell us the history of our friend and his sources of inspiration. In the days of social media, it makes me happy when someone goes beyond Instagram and 140 characters to tell their story.

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Chayan Khoi is a cyber photographer extraordinaire. A man of many talents, working with images, frames and installations. His out-of-this-world beautiful stuff gives us insight into the limits of our own imagination. If you happen to be in Geneva this weekend, you don’t want to miss this opportunity. Le New Garage is open 14:00-20:00 and located here:

Humanité(s): An exhibition of sculptures at the John Knox Centre, Geneva

The John Knox Centre sits in a quiet leafy suburb of Geneva. To commemorate the 60th anniversary of the centre, 22 members of Visarte.Geneve were asked to contribute to an outdoor sculpture exhibition. It opened last Friday 31 May. According to Guy Schibler, President of Visarte.Geneve, the exhibition “Humanité(s)” recalls the acts of barbarity of the 20th century but in a message of humanism. “It brings together art and thought” he says.

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Fusion / Fission (daytime) by Vincent Du Bois. Metal.

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Fusion / Fission (nighttime) by Vincent Du Bois. Metal. Photo thanks to John Knox Centre.

The choice of works and their titles reflect the spirit of the centre; namely, peace, humanitarianism, tolerance and mutual comprehension. However, the sculptures vary in the degree to which they are faithful to this spirit; to my mind, this is unimportant. These are beautiful, accomplished and intriguing works that represent the sculptors’ ingenuity, imagination and dedication to their calling.

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Untitled by Laurent de Pury. Wood assembly.

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Sahmanakar by Monique Waurin. Ceramic, sandstone, porcelain and enamel.

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…Dans la tiédeur des fleurs les buffles noirs sont couches… by Jean-Marie Borgeaud. Bronze.

In May of 2013, it would be too much to hope that the opening of an outdoor sculpture exhibition would coincide with a warm, sunny afternoon. I attempt to capture images of this impressive collection and struggle to keep my camera dry; then I realise the cold, grey atmosphere and the constant drumming of rain on leaves adds a solemn and appropriate gravity to the exhibition.

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Humanité by Laurent-Dominique Fontana. Concrete and wood.

The exhibition runs until 15th September. Whatever the weather, it is well worth visiting. Take your time. Reflect.

With love from Mireille Zagolin

It is raining and I am cold when I meet Mireille Zagolin at her studio in Nyon near Geneva. Her warm welcome includes a huge mug of hot tea. We chat. She is at once effervescent and charming.

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She tells me how, already a wife and mother, she took up painting more than twenty years ago. Sculpting began ten years ago. However, working with oil on canvas is her primary passion. In this medium she can let her imagination fly. Her spirits range far and wide on a hunt for inspiration. By contrast, she has found working with clay appeals to a much more personal, inner part of her being. I see she has difficulty putting this into words. To change the subject: whose work does she admire most? No surprises: Nicolas de Staël and Camille Claudel.

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Untitled, 1990, 60cm x 40cm, paint on silk

Amazingly, Mireille has taught herself to paint and to sculpt. It is obvious that she has talent in abundance. I ask about her best creative moment. “My first exhibition!” She says without hesitation. “It was a great success… and a huge adrenalin rush!” She sold everything bar one silk painting which she shows me. It is delicate, feminine and floral. It heralds her beautiful stuff to come.

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Inevitably, I ask about her worst creative moment. This is the only time during my visit that she is not smiling and laughing. She admits that she has never been asked this. She is silent for a minute. Her face clouds over. Eventually she says “It is when I lose that intimate connection with a clay I am working on; I can’t move forward.” There is the key word: “intimate.” Everything that she creates has a profound air of intimacy together with a distinct femininity. Whatever the medium, her work exudes sensuality and is suffused with love.

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My King, my Queen, 2013, 60cm x 60cm, oil on canvas

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L’amour en voyage, 2013 80cm x 80cm oil on canvas

To visit Mireille’s studio is to be dazzled by striking passages of colour and seduced by beautiful bronze curves. I leave with two of her stunning new canvases in mind as I head out into the rain. But I won’t be cold. I have had a wonderful and warming afternoon. Thank you, Mireille.