He paints the spaces and scenes of everyday life that surround him. From childhood, he moved from place to place, having neither a house nor a room, so he appreciates the place wh ere he lives now more than ever. Therefore, the theme of the surrounding, close and native space is very important for him.
For the past two years, he has begun to paint still lives more often - since the external situation in the world is increasingly forcing him to turn to internal disturbing experiences. Still life as a genre allows you to sincerely show the mood and emotional state, concentrating on the color scheme and composition.
All Sayan’s still lives are not staged but seen in his daily life. He never does anything artificially, preferring to trust his instincts and intuition. Everything in his paintings is accidentally seen and passed by the artist through himself.
Sayan usually works with the depth of space in the picture, but at some point, everything went the opposite way - instead of deepening into the canvas, the artist began to pull objects out of the picture. This is how his oil Objects appeared. He seemed to be trying to make the real unreal, the functional non-functional.
The artist himself said that the idea of Objects came to him when he was peeling an apple for his son - it turned out to be very chopped and beautiful.
Sayan’s artistic gesture represents a unity of Turkic locality and nomadic multiculturalism; the Kazakh author engages in spatial transformation.
Sayan embeds the spectator into scenes captured from the everyday, reducing the aesthetic distance.
Recently, still lifes have become the artist’s daily subject — the piling of information in a context of external turbulence forces to engage in meditative dialogue with self via color and composition. No prearrangement —only a sincere contemplation of chance observations and intuition.
Immediate “capturing” of the space is manifested by oil objects, coming through the surface towards the viewer, making their presence felt while recalling their origin — painting.
Sayan works with the third dimension and reverses it. He balances between profane and sacred spaces, breaking the laws of linear perspective, proportions and the conventional structure of the External. The real is substituted by irreal, the functional —by afunctional. The author takes the recipient back to the mythic consciousness of the age when humanity was capable of naive earnestness.