Noor Zahran: OVERFLOW

From the 2nd to 16th of March, G13 Gallery presents the drawings of Noor Zahran in a solo show titled “OVERFLOW,” the artist’s symbolic exposé of modern societies that seem hell-bent on crushing themselves through the multi-sensory overload of mass media, self-induced anxiety, addictions to pseudo fame and admiration, crippling parasocial relationships, distorted gratification values, the ominous AI explosion, and the invasion of a morally bankrupt minority of Internet hooligans who seem to have hijacked courteous social interaction, truth, and meaningful discourse over vast swatches of the Internet.

Coupled with this timely content is an artist who is fully immersed in the zeitgeist. Not only does he understand the perils of contemporary information consumption, but he also uses tools and techniques that dominate that same field, thereby ensuring the authenticity of the show's intention. Instead of overt criticism, Zahran leaves the cynicism to others while concentrating on an approachable series that lays out his case without stomping on the viewers’ enjoyment of the work.

Over the past decade, we’ve experienced a rapid expansion of technological tools used to aid visual artists in the production and presentation of new forms of intriguing physical art. As one who has similarly straddled the turbulent relationship between traditional analog methods and digital tools over the past two-plus decades in my studio work, I’m naturally attracted to artists like Noor Zahran who not only utilise contemporary tools but also openly promote and explain new techniques that represent the exciting tangential approaches now available to young visual artists despite the determination of some traditionalists to shackle contemporary artists with the aesthetic values and code of bygone eras.

Zahran is ideally placed to prosper in the 21st-century art paradigm. He is formally trained on both sides of the digital dichotomy with extensive studies in analog painting and drawing as well as 3D modelling, cinematography, and digital imaging systems. He uses the impressive sum of this training and related digital tools to compose deeply symbolic, surreal imagery that is simultaneously witty, irreverent, prodding, and persuasive. While some of the works can seem snarky, his messaging is sincere, and they remain easy for many to identify with. A whimsical approach softens the edges of despair and doubt from an otherwise heavy narrative.

Noor Fahran Final Stage, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)

I’ve been very familiar with Zahran’s ascension in the art world over the past two years that helped lead to this solo show. His work has become ubiquitous throughout Klang Valley after appearing in numerous collectives and competitions.

Most notably, “Final Stage” is a drawing by Zahran that features Pac-Man chasing clocks rather than cookies in the artist's study of the significance of time. This was one of his works that appeared in the prestigious MEAA Awards exhibition at Linkokwing University in Cyberjaya in 2023 after Zahran was chosen by a panel of luminaries in the local art world as one of Malaysia’s finest emerging artists for the year 2022. OVERFLOW was made possible by his collaboration with the organizers of that competition.

Noor Fahran Not for Sale, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)

Likewise, “Not for Sale” was chosen as a finalist in the Emerging Artist category for the 2023 UOB Painting of the Year competition. Its inclusion for the award was somewhat puzzling despite being an attractive, thought-provoking piece, given that it is a hybrid drawing, not a painting. By hybrid, I refer to Noor’s process of using digital tools to compose his images, many of which simulate 3D effects as evidenced by his deft control of light reflections and shading that exhibit both his traditional training and mastery of the processing power of computers. A stripped-down skeletal rendition of the main components of the composition appears to be pencil-drawn or printed on paper, followed by the laborious stippling application of thousands of ballpoint pen dots to finish the work. In previous Instagram discussions, the artist has stated that one of his 82x132cm drawings can typically take a month or more to complete. Even for viewers who may not prefer this type of content, respect for his patience is undeniable!

Sometimes you encounter a work of art that is immediately connectable, a piece that resonates so closely to your personal state of mind that you can feel every paper fibre and delicate stroke. Zahran’s “Waiting for Perfection” fostered such a response by reminding me of a song by Canadian Ron Hawkins, the much-revered lead singer and guitarist for the now-defunct alt-rock band, Lowest of the Low.

Noor Fahran Waiting for Perfection, 85x132cm Ink on Paper 2024 (Image courtesy of the artist and G13 gallery)

One of Ron’s ballads includes the following paraphrased words, “…will the days still seem long when the waiting's done? It looks like strength but it smells like fear... like a sad, slow soundtrack on the radio, you show up drunk, and then you disappear because you're waiting on something that's already here.”

The juxtaposition of Zharan’s image and Hawkins’ words dovetail succinctly with the artist’s examination of unfulfilling, unilateral parasocial friendships, naive hope, unreachable goals, and distorted reality.

Visit G13 between the 2nd and 16th to view OVERFLOW. More information is available through the gallery’s website. 

All images are courtesy of the artist and G13 Gallery.