13 October 12 artists exhibited their artworks in Kontoret Nybroviken on Birger Jarlsgatan 2.
Bronze sculpture has been around for a long time. Besides bronze longevity, artists particularly like this type of metal because it slightly expands before it sets. This allows the artist to apply the finest details to the piece. Bronze is not brittle and is very strong and ductile. This ductility contributes greatly to works that depict motion, especially in animals or humans.
Siyabend Kaya was born in 1952 in a village near the foot of the Ararat mountain in the northern area of Kurdistan. He has fetched inspiration for many of my paintings and sculptures from his childhood, living a half-nomadic life, a lifestyle almost disappearing in that region.
Four times a year They moved with their livestock to ensure constant access to fodder for their animals. They were largely self-sufficient, had a heavy daily workload, and fought a continuous battle against the forces of nature. This was often interrupted by traditional festivities like the celebration of the Kurdish New Year, weddings, fertility feasts, and masquerades.
Daily lives were permeated with folktales, myths, songs, and symbols that have deep roots in his long heritage. All of this, as well as the form and colors of the shifting landscape, have left an impression on his art. His choice of colors is strong and reflects the colorful traditional folk art – the carpets, the costumes, the music, the songs, and the dances.
Along with the entry of Islam also followed the taboo against depicting people or animals. When He was a child, nobody showed any understanding of his passion for drawing or his wish to become an artist. Later He moved to Istanbul to study art for five years at the Istanbul Fine Arts Academy.
He came to Sweden in 1983 and could resume painting and sculpturing. He is married to Eva, has two grown-up sons, and works as an art teacher.
During the day Siyabend Kaya works as an art teacher, in the evenings and weekends, he paints and sculpts in the studio at home. “I would like to work with pictures around the clock. I never get tired, every motif has its challenges. Art is a parallel life.”
In the studio in the basement of Bredängsvillan, he puts the last strokes of oil paint over the mane of an Arabian thoroughbred. The motifs in his paintings are often taken from childhood, scenes painted directly from memory. When he was growing up, however, painting and drawing were forbidden, if the opportunity was even given. Apart from the home being empty of pictures, pencils were also in short supply. But Siyabend had a small pocket knife. As he guarded the family’s lambs up in the mountains, he secretly carved small figures from pieces of wood and soft stones. Johannes Liljeson
More paintings you can see under the links below