Ayan Farah's often large paintings are soaked, painted or dyed with natural pigments, mud, ash, clays and plant dyes. Made of antique linen and jute, these works start as one large solid work, the off-cuts later becoming the patchworked pieces of Farah‘s future paintings. Sometimes these historic fabrics have endured so much wear and tear due to their nature as domestic linen, their only use is as part of a patchwork painting. All materials in her studio are reclaimed and saved for later, often re-dyed, re -stitched to form new works. Her studio practice functions within a cycle of material production and reclamation. Informed by the history of landscape and land art in formal and material sense respectively, these works are formed by the place the pigments are sourced and it‘s geology. Often reflecting on personal history, the geographical location of the source material and the place of production are key. Socio-cultural concepts and geological properties as well as the aspect of mobility as part of the production process drives from Farah‘s own biography.
Born (1987) in Sharjah, United Arab Emirates to Somali parents, She grew up in Sweden, lived a substantial period in London where she studied Painting at the Royal College of Art. She now lives and works in Stockholm, Sweden. Ayan Farah‘s works are part of institutional collections such as the Art collection of the Federal Republic of Germany, Collection Klein, The David Roberts Art Foundation, London and the Kadist Foundation. She has more recently shown, at the Klein Collection in Germany, „The London open“ at Whitechapel Gallery, „In the Eyes of the Beholder“ in Tarble Arts Centre, Charleston, US and „Textile Abstraction“ Casas Riegner, curated by Jens Hoffman.