by Zara Yost
Zim Syed’s pop-up show at the Irma Freeman Center for Imagination, (Zim Syed) Legal Defense Fund, opened on March 1st at the Unblurred First Friday in Bloomfield. The show, loosely subtitled “A Show About Staying Out of Jail,” was held before the recent pro-Palestine protests in Schenley Plaza on March 2nd. Syed, a young Pittsburgh-based artist and activist, stated that an unnamed company has accused him of erecting a Palestinian flag on their roof. This accusation has resulted in several felony charges against Syed.
Syed was born in Atlanta and moved to the United Arab Emirates (UAE) shortly after. He spent his childhood traveling between the US, Bangladesh, and the UAE. Now Pittsburgh-based, Syed’s artwork and practice incorporate children’s media, popular fiction, as well as the influence of tricksters, clowns, and mimes. His artwork often critiques the institution of fine art and sheds light on issues such as race, police brutality, systemic racism, and gun violence.
For Legal Defense Fund, most of the pieces are numbered instead of named and are painted on raw canvas. Their loose, expressionistic style pays homage to artists like Basquiat and Pollock. A common theme appears in Syed’s caricature selections; in this collection, there are portrayals of Buttercup from Cartoon Network’s The Powerpuff Girls, the crew from Scooby-Doo, Courage, also from Cartoon Network’s Courage the Cowardly Dog, and even the infamous Cruella DeVille. While these characters are being re-imagined by Syed, they are also all anti-heroes in their own right. Perhaps Syed’s political activism resonates with the underdogs of the cartoon world.
In an Instagram post promoting the exhibit, Syed mentioned that he is contractually obligated to price his work. However, the reasons behind this obligation remain unclear. It is uncertain whether the gallery required Syed to do so or if he needed to raise funds for legal services. Let’s assume the latter. The fact that this Bangladeshi-American artist needs money for legal services is intriguing. Referring to himself as a “party clown” in a meme on his social media account promoting the show, Syed draws on vigilante and avenger-like tendencies in his activism that also show up in his work.
“The Floor is Lava” and “Oil on Canvas” are two compelling pieces in the collection. “The Floor is Lava” is made up of broken furniture and sliced books that appear to be sinking into the ground, while “Oil on Canvas” is a blank stretched canvas, with Gamblin Linseed Oil placed on top. In these works, Syed’s playful and mischievous trickster persona shines through. “Oil on Canvas” is a satirical commentary on the prestige of the art world, with Syed poking fun at the seriousness associated with being a “real” artist.
It’s evident that he enjoys his own art in “The Floor is Lava,” where he draws inspiration from the classic children’s game of pretending the floor is made of molten rock. In the piece, Syed utilizes ordinary household furniture to create an elaborate path that one could imagine hopping on to avoid the “lava.”
Despite the playfulness of Syed’s work, there is a serious undertone. Syed was imprisoned for his alleged actions. The show presents both lightness and darkness. Syed’s art is a powerful reflection of his mental state as he navigated through various events. His canvases are raw and unrefined, much like his emotions during those times. The unsteady brush strokes and paint splatters on his works evoke a sense of chaos and unpredictability, almost as if the artist was trying to capture the essence of his inner turmoil of bucking the system yet possibly having his own criminal record. Syed’s style is reminiscent of the illustrations of Ralph Steadman, the celebrated artist who worked on Hunter S. Thompson’s Fear and Loathing in Las Vegas. His artwork both entertains and inspires contemplation.
Syed’s combination of pink and neon green throughout the exhibition is reminiscent of a watermelon, which has been used as a symbol of support for Palestine. The artist’s work is heavily influenced by the DIY scene, where individuals take on creative and practical pursuits without the help of experts. His style also often resembles graffiti, a form of public art known for its bold, colorful designs and political messaging. Graffiti can arguably be seen as a form of vigilante justice, as artists use their work to spread hard truths and challenge the status quo. Syed takes this one step further by incorporating satirical imagery into his pieces, which adds an additional layer of commentary to their already politically charged work.
Overall, Syed’s work is a powerful form of visual storytelling that aims to provoke thought and inspire change. If Syed indeed planted the Palestinian flag on the company building, his artistic expression transcends the boundaries of a mere canvas and delves into the realm of social justice issues that are of utmost importance right now. By doing so, Syed assumes the role of an instigator and even a rebel of society’s canvas, challenging the status quo and inspiring discourse around pertinent issues like the horrific and unnecessary genocide happening in Gaza at the hands of the Israeli Government and US-backed aid.
Zim Syed is represented by BoxHeart Gallery in Bloomfield, PA. In 2023, Syed was awarded the Radiant Hall x Boom Concepts residency in addition to Brew House’s Distillery residency. Zim Syed: Legal Defense Fund will be on display until March 8th, 2024. Gallery hours will be hosted throughout the week and by appointment.
Zara Yost is an interdisciplinary artist, curator, and writer living in Pittsburgh. Her career is heavily influenced by her time in Chicago’s music and art scene. She has written for publications such as Newcity, the Chicago Reader, and Fnewsmagazine. Zara is best known for her work with organizations such as the Museum of Contemporary Art Chicago, United States Artists, Boston Society for Architecture, and The Roberto Clemente Museum.
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