Through a glass brightly – CityMag

ACE Open’s kaleidoscopic installation by artist Yusuf Hayat, “If the future is worth something,” is a vision for a more beautiful and connected world.

Yusuf Hayat’s artwork at ACE Open’s 2020 South Australian Artist Survey is made of transparent, iridescent perspecs panels that illuminate the entire room in a variety of shades, shades and directions. It’s bright and fun. It also includes the depth of meaning.

This work is constructed from Yusuf’s encounter with an architectural film called a dichroic.

“This is a great material,” says Yusuf. “It depends on your point of view.

“There are two different types I used in the installation, which change this range of colors, and I liked it drawing you into the uniqueness or peculiarity of your point of view.”

After engaging in social work in the UK and Australia, Yusuf has devoted himself to art full-time in the last few years. Through companies such as the Common Ground, the Red Cross, and the Salvation Army, Yusuf worked with people with a wide range of experience, including those who were homeless and immigrants who had gone through asylum and detention.

Yusuf’s artwork is often infused with themes derived from his previous career and his experience growing up as the son of Indian parents in the UK.

His exhibit, Barb Al Salaam, raises many questions through the sparkle of the film about the role that perspectives play in our world and in our understanding of each other, often in different ways.

“You and I are both looking at the same panel, but they see completely different colors depending on where we are standing. It’s the exact same panel,” says Yusuf.

“It’s such a feeling, it depends entirely on each of us, our own individual and specific perspective and position. Each of us has it and the position of everyone. Is fully valid.

“But it also does this really magical thing-it reflects and transmits light. So you can see through it, but you can look back as well. You can line yourself up with others and you can merge with each other.

“There is something in the idea of ​​empathy that you have to start with who you are, rather than letting yourself collapse to others. This is,” Okay, I’m still me. , I still hold who I am, and I understand that I’m not just looking at the reflexes, I’m not looking at others as the subject of my study , We found that we were in a perfect relationship. “

The physical presence of the artwork brings more layers. Baab Al-Salaam is the name of one of the gates in the Great Mosque of Mecca, Saudi Arabia. This phrase is translated into “Gates of Peace”. Part of the artwork panel acts as a revolving door intended for navigation.

Yusuf grew up in England and now lives in Australia. Australia is two countries that raise multicultural ideals. In fact, “it can feel like a very superficial involvement,” he says.

“You may be sitting next to someone in the bus, but it’s not really. [engaging with them]… People return to themselves. “

At Baab Al-Salaam, Yusuf made a genuine connection between two people who interacted with the work at the same time as needed.

“Revolving doors can close you … so you can end up with this little bubble,” says Yusuf. “That is, you can find ways to lock in, collaborate and negotiate, and open and move through space.

“It’s’How do you find a space where you have meaningful engagement, meaningful encounters?’ You share goals and think of this as collaboration and communication. Only coexist. Instead, we are actively trying to cooperate. “

Yusuf admits that these are heavy themes. As a result, the work is friendly, colorful and full of light.

“I wanted it to be an experience of joy, wonder and charm,” says Yusuf. “Bright colors really helped the feeling that something you don’t know as a good experience, colorful and fun, not necessarily fear, slander or alien exclusion.

“On the contrary, it’s a difference, a stranger, excited about its potential. [an] Encounters may be open to us. “