Mastering the Canvas: A Visionary’s Voyage Through Eastern Aesthetics and Intuition
Segaris Art Center proudly presents a mini-retrospective exhibition for Awang Damit Ahmad, an illustrious Universiti Teknologi Mara (UiTM) alum, at CIMB Artober from October 24 until 27, 2024. In addition to his prolific career as an artist, Awang Damit significantly contributed to arts education in Malaysia. In August 2024, he received the Malaysian Public University Icon Alumni Award, a prestigious award from the Ministry of Education, Malaysia.
Awang Damit was a lecturer at the Faculty of Art and Design, UiTM, for over two decades. Beginning as a lecturer from 1990 to 1993, he advanced to senior lecturer from 1994 to 1999 and was appointed associate professor in 2000, a role he held until his retirement in 2011. Beyond teaching and mentoring emerging artists, Awang Damit also took on leadership roles, serving as curator at the UiTM Art Gallery (1993-1994) and as head of the Fine Art department (1997-1998).
His influence extended beyond the classroom, shaping the broader Malaysian art landscape. Upon retiring from academia, Awang Damit dedicated himself entirely to painting, culminating in his fourth solo exhibition, “Dari Iraga ke Payarama: Awang Damit Ahmad (2003–2014)” at Segaris Art Center, Kuala Lumpur, in 2014.
A Journey Through Time, Culture, and Intuition
Titled “Menuju Estetika Timur: Retrospektif Awang Damit Ahmad – Merentas Ruang dan Waktu” (Towards Eastern Aesthetics: Awang Damit Ahmad’s Retrospective – Across Space and Time), the mini-retrospective exhibition celebrates the life and work of one of Malaysia’s most distinguished contemporary artists. This special showcase will not only trace the evolution of Awang Damit’s expressive artistic language but also provide a deep dive into his major series—Essence of Culture (EOC), Iraga, Payarama, Marista, Garismega, and his most recent collection, Estetika Timur.
Over four decades, Awang Damit has carved a unique niche as a notable abstract artist in Southeast Asia. His work, deeply influenced by his experiences, cultural heritage, and connection to the natural world, transcends the purely visual. It encompasses rich narratives of time, place, and the human condition, capturing fleeting moments of intuition and memory through bold, gestural abstraction. This extraordinary career balances the cerebral with the instinctual, making his work a must-see for art enthusiasts.
The Essence of Culture: Foundations of a Vision
Awang Damit’s early series “Essence of Culture (EOC)”, produced between 1985 and 1995, marks the foundation of his artistic vision. Drawing from his rural upbringing in Kuala Penyu, Sabah, where the landscapes of paddy fields, ocean shores, and local traditions left an indelible imprint on him, “EOC” became a visual and tactile tribute to the artist’s roots. In this series, Awang Damit distilled the essence of his cultural identity into complex compositions of colour and form, combining abstract expressionism with symbolic references to Malaysian culture.
The use of earthy, textured layers of paint in “EOC” suggests agricultural processes, such as paddy harvesting and traditional crafts, embedding in the canvas a tactile sense of labour and life. His compositions often featured a blend of organic forms, reminiscent of the natural environments he grew up in, and abstract patterns, echoing the rhythms of traditional rituals and village life. This blending of the natural and the abstract is a hallmark of Awang Damit’s work, and it became the guiding force for the following series.
Iraga: Shifting Seasons and Human Experience
Between 2003 and 2011, Awang Damit developed “Iraga” (meaning “Changing Season”), a series that delved into the impermanence of human experience, much like the shifting seasons that influence the rhythms of rural life. The work in “Iraga” explored the cyclical nature of time, using swirling, dynamic strokes to evoke a sense of movement and transition.
While continuing to reference the landscapes of his youth, Awang Damit began incorporating more abstract, gestural elements, suggesting the passage of time and the fleeting moments that shape human existence. His bright, vibrant colours juxtaposed against darker hues conveyed the tension between growth and decay, joy and sorrow—universal themes that resonate across different cultures.
Awang Damit’s method in “Iraga” involved layering paint, creating a sense of depth and complexity in the textures. Each mark, whether deliberate or instinctual, represented an encounter with time, with his palette evoking the colours of nature—blue skies, green fields, and the warm tones of the earth. The tactile nature of his work invited viewers to engage visually and emotionally, drawing them into the cyclical narrative of life and change.
Marista and Payarama: The Path and the Journey
In the mid-1990s, Awang Damit embarked on the “Marista” series (1996-2002), titled after a fictional path to an unknown destination, representing his ongoing search for answers in his artistic journey. This series marked a period of self-reflection and exploration of the metaphysical, where Awang Damit began questioning the nature of existence and identity. The work in “Marista” was notable for its abstract forms, geometric shapes, and contrasting colour palettes, symbolising the uncertainty and mystery of the path ahead.
This exploration continued into “Payarama” (2012-2015), a series named after the “North Easterly” winds, representing a new direction in his work. As an invisible force, the wind served as a metaphor for unseen energies and the artist’s search for meaning in his practice. The artworks in “Payarama” became more fluid, with softer lines and gentler transitions between colours, reflecting a sense of calmness and acceptance. The vibrant blues and greens in the series evoke the sea and sky, while the shifting forms suggest the constant flow of nature and time.
Both Marista and Payarama signalled a maturation in Awang Damit’s work as he began to fuse the intellectual with the intuitive. The balance between control and freedom became increasingly evident in his brushstrokes, and his growing reliance on intuitive gestures—his “rasa dalaman”—marked a transition toward the later phases of his career.
Garismega: The Language of Lines
Garismega (2013-2020), meaning “The Great Line”, pushed Awang Damit’s exploration of form and abstraction to new heights. The series focused on the power of lines and structures, where the composition was held together by forceful, almost architectural lines that defined the spaces within his works. These lines act as boundaries and connections, creating a visual tension that speaks to the artist’s engagement with the formal elements of abstraction.
In “Garismega”, Awang Damit’s compositions became increasingly structured, suggesting an internal dialogue between order and chaos. The lines created a framework for the expressive gestures within, containing the brushstrokes’ energy while guiding the viewer through the visual narrative. This series reflected the artist’s evolving relationship with abstraction, as he sought to construct a visual language that communicated both the immediacy of the moment and the permanence of form.
Estetika Timur: A Return to Intuition
Awang Damit’s most recent series, “Estetika Timur” (2021-present), represents the culmination of his lifelong exploration of Eastern aesthetics and abstract expressionism. In this body of work, the artist re-engages with the intuitive gestures that have characterised his practice but with a newfound maturity and confidence. Every brushstroke in “Estetika Timur” is deliberate, yet born from an intuitive connection to his “rasa dalaman”—the inner sense guiding his hand throughout his career.
In “Estetika Timur”, Awang Damit reflects on Nusantara’s landscapes and cultural traditions, particularly the West coast of Sabah and the East coast of Peninsular Malaysia. The bold, vibrant colours of the series echo the lushness of the Southeast Asian environment, while the fluid, gestural marks convey a deep sense of connection to place and memory. The works embody a sophisticated interplay between form, colour, and texture, each painting a moment in time that captures the artist’s reflections on existence, nature, and the human spirit.
Towards Eastern Aesthetics: A Lifelong Journey
As we journey through the mini-retrospective “Menuju Estetika Timur: Retrospektif Awang Damit Ahmad – Merentas Ruang dan Waktu”, it becomes evident that Awang Damit’s work is a continuous dialogue between past and present, form and intuition, memory and abstraction. From the early foundations of “Essence of Culture” to the intuitive gestures of “Estetika Timur”, Awang Damit has crafted a visual language that transcends boundaries, merging Eastern philosophy with universal themes of time, existence, and the natural world.
His use of colour, texture, and form speaks to a deep understanding of the physical and the metaphysical. Each mark on the canvas reflects a moment—a “detik”—a gesture towards something more significant than the individual, yet deeply personal. As we stand before these works, we are invited to see, feel, and engage with the art as an ongoing process, a journey across space and time that connects us to the core of human experience.
We can see beyond the surface and feel the underlying currents of thought and emotion that drive Awang Damit’s work. His journey across space and time invites us to engage with art as an ever-evolving process that speaks to the core of human existence, memory, and intuition.
We are not merely witnessing the works of a master artist—we are embarking on a journey with Awang Damit, exploring the rich interplay between culture, nature, and the intuitive forces that shape his extraordinary creations.
Sarah Abu Bakar
14 October 2024
Sarah Abu Bakar with Awang Damit Ahmad after moderating a “Bicara Seni” session with the artist and a panel of speakers titled “Masih Ada Ruang” at Galeri Puteh, Kuala Lumpur on 24 February 2024.Sarah Abu Bakar with Awang Damit Ahmad at “Estetika Timur 2021-2023”, a solo exhibition by Awang Damit Ahmad at Galeri Puteh, Kuala Lumpur (13 February – 3 March 2024).
It is with immense pleasure that I welcome you to the Seni Setulus Hati RHB Art with Heart 2024 exhibition by RHB. This year’s event is a remarkable confluence of artistic diversity and exceptional talent, bringing together 89 distinguished artists who present over 200 captivating works. The collection spans a rich array of styles, including landscape, abstract, stilllife, and surrealism, each rendered through various techniques such as acrylic and oil painting, mixed media, paper quilling, weaving, and drawing, promising a truly diverse and exciting experience for all art enthusiasts.
A particularly poignant element of this exhibition is the inclusion of 18 differently-abled artists (Persons with Disabilities). Their works not only showcase their immense talent but also their indomitable spirit. We are honoured to feature the exquisite creations of deaf artists such as Candice Singha Wong, Lim Anuar, and Zulaiha Zulkapli. Additionally, the remarkable contributions of Nur Fariza, who bravely overcomes the challenges posed by mucopolysaccharidosis type IV, a rare genetic condition, stand as a testament to the transformative power of art, inspiring us all.
Of the 89 participating artists, 55 are making their debut at the Seni Setulus Hati RHB Art with Heart 2024 exhibition. These emerging artists infuse the exhibition with fresh perspectives and innovative approaches. We take pride in highlighting talents such as Afi Sulaiman, a distinguished children’s book illustrator, alongside Farah Ashira, Puteri Mas Aishah and Adam Lais, who are currently pursuing undergraduate studies in Fine Art and Landscape Architecture at Universiti Teknologi Mara. We also welcome Lim Zhi Wei and Lee Ren Xin, recent graduates in Fine Art from the Malaysia Institute of Art.
This splendid initiative by the RHB Banking Group epitomises their commitment to fostering and nurturing young local artists. It provides them a platform to exhibit creativity, connect with potential patrons and collectors, and inspire public appreciation for homegrown art. The RHB Art with Heart initiative has flourished over the years, and this edition promises to be grander and more exhilarating than ever. It offers an unparalleled opportunity for audiences to view the art and engage with the artists, fostering a deeper appreciation for their work.
Curating this exhibition has been a wonderful experience, made possible through the invaluable assistance of my esteemed co curator, Danial Fuad, and the dedicated efforts of our team members, Azam Aris and Jiko. We are profoundly grateful to RHB Banking Group for their unwavering support and commitment to fostering and nurturing young local artists. Their contribution is instrumental in making this exhibition a reality, and we are sure you will join us in appreciating and supporting their efforts.
I invite you to immerse yourself in this vibrant and diverse collection, to be inspired by the creativity on display, and to join us in celebrating and supporting these remarkable artists.
A special tour for the Campus Rangers International School students organised by teacher and artist, Mr, Eugene Nandakumar.Sarah Abu Bakar with Pahang Royal Princess HRH YAM Tengku Puteri Raja Tengku Puteri Afzan Aminah Hafidzatullah binti Al-Sultan Abdullah Ri’ayatuddin Al-Mustafa Billah Shah.
Galeri Khazanah is delighted to present a mini-art exhibition titled Journeying Through Malaysian Art, Imagination and Legacy to celebrate Khazanah Nasional Berhad’s 30th anniversary.
This exhibition showcases 46 diverse artworks by 31 Malaysian modern and contemporary artists from our corporate collection, including the past participants of the Khazanah Nasional Associate Artist Residency Programme (2017 until 2023).
A selection of artworks from the collection, spanning various media such as batik, digital print, drawing, mixed media, painting, photography, and sculpture, is being displayed for the first time in Penang to engage a broader audience.
At the heart of this exhibition lies the harmonious blend of tradition and innovation, with a notable selection of seven sculptures, each brought to life in a unique and interactive way through augmented reality.
As we commemorate three decades of growth and contribution to our beloved nation, this exhibition not only marks a significant milestone in our journey since the launch of Galeri Khazanah’s virtual gallery at galeri.khazanah.com.my in 2022 but also reaffirms our dedication to fostering creativity, innovation, and cultural enrichment within our community over the past decades.
Galeri Khazanah berbesar hati mempersembahkan pameran seni mini bertajuk Mengembara Melalui Seni, Imaginasi dan Warisan Malaysia untuk meraikan ulang tahun ke-30 Khazanah Nasional Berhad.
Pameran ini menampilkan 46 karya seni yang pelbagai oleh 31 artis-artis moden dan kontemporari Malaysia dari koleksi korporat kami, termasuk alumni Program Residensi Rakan Artis Khazanah Nasional (2017 hingga 2023).
Pilihan karya seni dari koleksi kami merangkumi pelbagai media seperti batik, cetakan digital, lakaran, media campuran, lukisan, fotografi dan arca, kini dipamerkan buat pertama kalinya di Pulau Pinang untuk khalayak yang lebih luas.
Teras kepada pameran ini adalah gabungan harmonis antara tradisi dan inovasi, melalui tujuh arca yang terpilih, setiap satu dihidupkan dengan cara yang unik dan interaktif melalui realiti terimbuh (augmented reality).
Tatkala kami memperingati tiga dekad pertumbuhan dan sumbangan kepada ibu pertiwi, pameran ini bukan sahaja menandakan pencapaian signifikan dalam perjalanan kami sejak pelancaran galeri maya Galeri Khazanah di galeri.khazanah.com.my pada tahun 2022, tetapi juga mengukuhkan lagi dedikasi kami untuk memupuk kreativiti, inovasi dan pengayaan budaya dalam komuniti kita sepanjang beberapa dekad yang lalu.
Watch the making of Galeri Khazanah Mini-Exhibition in Penang here.
Watch a special highlight of Galeri Khazanah Mini-Exhibition in Penang here.
Photos and videos courtesy of Khazanah Nasional Berhad.
L-R: Khazanah Residency Programme 2023 Artist Mark Tan, Galeri Khazanah Consultants Mudzafar Abdullah Sanusi and Sarah Abu Bakar, Khazanah Nasional Berhad Managing Director Dato’ Amirul Feisal Wan Zahir, Think City Managing Director, Dato’ Hamdan Abdul Majeed, Khazanah Residency Programme 2018 Artist Eryn (Winnie Cheng) and Khazanah Nasional Berhad Senior Vice President Corporate Communications Amelia Wardah Kassim.A visit to Think City Penang and Galeri Khazanah mini-exhibition by the Lord Mayor, City of Adelaide, Dr Jane Lomax-Smith AM (fifth from right) and delegates on 9 August 2024.Sarah Abu Bakar demonstrated the Augmented Reality sculptures at Galeri Khazanah mini-exhibition to Penang State Executive Councillor for Tourism and Creative Economy Yang Berhormat Tuan Wong Hon Wai on 20 July 2024.One of the guided tours for schools during Galeri Khazanah mini-exhibition in Penang.
A special tour for National Art Gallery Malaysia Chairman YBrs. Encik Shaik Rizal Sulaiman and friends on 27 July 2024.
“Nature is an inexhaustible source of inspiration for me” – Tajuddin Ismail.
G13 Gallery, in collaboration with TJ Fine Art, presents “Rhythm of Nature”, Tajuddin Ismail’s 16th solo exhibition from June 1 – 29, 2024. This show presents over 40 visually captivating abstract paintings in variable dimensions as large as 284 cm by 284 cm to medium-sized paintings measuring 152cm by 152cm are presented in their lyrical abstraction genre. This style best defines Tajuddin’s abstract paintings.
Profoundly inspired by the grandeur of nature, Tajuddin creates a series of visual poetry through his dynamic and vibrant renditions of the universe’s majestic landscape.
“Beauty is everywhere. I am in awe of nature – the structure of a leaf, sunflower florets, the ever-changing clouds and the transformation from day to night. ‘Rhythm of Nature’ is a homage to celebrate nature,” said Tajuddin.
The series expands Tajuddin’s five-decade-long artistic oeuvre. His work encompasses a diverse range of artistic styles and movements that prioritise the expression of ideas and emotions over realistic representation.
The impetus for producing abstract interpretations based on nature began in 1978 when he presented a solo exhibition titled “Recent Paintings and Drawing: Gridscapes” at Dewan Tunku Canselor, Universiti Malaya. This body of work has become the trademark of his present work, where one can connect the relationship between technique and style, then and now.
Early days
Born in 1949 in Negeri Sembilan, Tajuddin is the third child of eight siblings. His father, Haji Ismail bin Haji Jaafar, worked as a clerk for the British Malayan administration, and his mother, Hajjah Salilah Haji Ma’ahir, was a homemaker.
He grew up in Port Dickson, a Malaysian coastal town that became a port for transporting the rich tin ore deposits in the 19th century. The port was named after a British colonial administrator, Sir John Frederick Dickson KCMG (1835 – 1891).
As a young boy growing up in the old charm of the pre-Merdeka environment, Tajuddin spent his days crafting objects from scrap materials and watching movies at a local theatre named “Seaview” near the seafront.
“I was good at drawing and crafting things from found objects, and I made masks, kites, spinning tops, catapults, and many other objects. Inspired by the motion pictures at age six, I made a crude form of moving images using a cardboard shoe box.
I cut out a small window on the box, collected colourful transparent and translucent wrappers, joined them in sequence, and rolled the pieces of wrappers onto a bamboo stick to display the ‘film’ and project light onto the wall to view the images,” reminisced Tajuddin.
Movies, Circus, Fireworks
Tajuddin is a film buff who enjoys classic Malay films, particularly P. Ramlee’s movies like “Sarjan Hassan” and Maria Manado in “Pontianak,” the first Malay horror film released in 1957.
“I remember going to the movie house often as it was a main source of entertainment for town folks. The Tai Thean Kew Circus also made a huge impression on me as young boy. These visual experiences capture my imagination,” said Tajuddin.
The travelling circus was founded in the 1930s by Nanjing native Sun Sze Ting, who brought it to Malaya until its closure during World War Two. The circus continued its operations in 1948 and reached its heights through the 1950s and 1960s, touring Malaya (Malaysia and Singapore) and parts of Southeast Asia.
In 1957, Tajuddin was eight and attended Sekolah Melayu Kampong Gelam, a Malay vernacular primary school in Port Dickson. In the weeks leading up to Merdeka, the town was filled with a festive and cheerful atmosphere to celebrate the joyous and historic occasion. The roads were heavily decorated with flags and buntings with pictures of Tunku Abdul Rahman and Queen Elizabeth II.
“On Merdeka Eve, everybody gathered at the jetty to watch the night sky light up with spectacular fireworks. I had never seen fireworks and these were some of the memorable events growing up.
These were the three events that captivated my early childhood imagination during those early days: the movies, the circus and the fireworks,” recalled Tajuddin.
A charming simplicity characterised life during his early childhood in the 1950s and early 1960s. In the absence of today’s sophisticated technology, imagination and creativity thrive. Without the distractions of smartphones, tablets, and video games, children rely on their innate ingenuity to entertain themselves and engage with the world around them.
Outdoor play was a cornerstone of childhood during this time, with fields, riverbanks, or the beach serving as expansive playgrounds. Children spent hours exploring nature, climbing trees, building forts, and playing games like tag and hide-and-seek. With fewer structured activities and scheduled playdates, they could roam and invent their adventures.
Toys were often homemade or straightforward in design, encouraging resourcefulness and imagination. Wooden blocks, dolls, marbles, and jump ropes were cherished possessions for most boys and girls, fostering creativity and cooperative play. Without electronic gadgets, children used their hands and minds to construct elaborate worlds and narratives, fuelling their imaginative development.
Additionally, traditional forms of entertainment such as storytelling, puppet shows, and board games brought families and communities together, fostering bonds and shared experiences. Creativity was a pastime and a way of life as children learned to repurpose everyday objects for play and exploration.
Tajuddin’s formative experiences, characterised by a simplicity that encouraged his resourcefulness, creativity, and a deep connection to the natural world, have laid the foundation for a lifelong appreciation of imagination and innovation.
Outdoor painter and ALMA
In 1959, Tajuddin’s family moved to Mantin, a sleepy rural town in Negeri Sembilan, as his father was seconded for work. They resided in the government quarters. Adapting to his new environment, Tajuddin began exploring the outdoors frequently after school. My favourite pastime was wandering the countryside, swimming in the river and looking for colourful fishes in the swampy wetland.
During this period, he first encountered an artist painting en plein air. “My friends and I were roaming in a banana plantation, and I saw a man painting the landscape using oil on canvas from a makeshift easel on his bicycle. The encounter of a painter at work engrossed me,” said Tajuddin.
In 1960, Tajuddin’s parents enrolled him in King George V School, an elite English school in Seremban, Negeri Sembilan. He boarded the boys’ hostel and lived a structured life with strict schedules until 1962.
“I used to dread Monday morning school assembly, listening to the headmaster’s mundane sermons on school discipline and witnessing public caning for the rule breakers. So, my sight was drawn towards the paintings displayed on the walls of the grand hall.
These paintings were Latiff Mohidin’s early work depicting wonderful pastoral kampung scenes and rural landscapes. It was signed ‘ALMA’, and these early works made a lasting impression on me,” recalled Tajuddin.
Tajuddin met Latiff Mohidin briefly at King George V as he bade farewell to fellow hostelites before leaving for Germany. In 1960, Latiff Mohidin embarked on his tertiary studies under the Deutscher Akademischer Austausch Dienst (DAAD) scholarship to study painting in Germany. He returned to Malaysia in 1964 and began travelling to Bangkok. He stayed with Thai artist Thawan Duchanee, whom he had already met at an exhibition organised by Frank Sullivan, the Australian Press Secretary to Malaysia’s first Prime Minister Tunku Abdul Rahman at Samat Art Gallery – Kuala Lumpur’s first commercial art gallery, which opened in 1966.
Latiff Mohidin was integral in introducing Tajuddin to the local art scene in Kuala Lumpur after completing his Senior Cambridge Certification in 1966. The following year, Tajuddin moved from Seremban to live with his sister, Puan Sri Hashimah Ismail, and her husband, Tan Sri Dato’ Dr. Abdullah Sanusi bin Ahmad (1936 –2003), in Petaling Jaya (PJ).
“I was 18 years old when I moved to PJ in 1967. It was a time when the global youth cultural revolution made an impact everywhere. At the time, PJ was a hip and happening place to be. There were a growing affluent community and many fashionable young people and art students hang out in PJ as MARA Institute was also located in PJ,” said Tajuddin.
“In 1968, Latiff Mohidin visited my sister as they were classmates in school. He was between travelling, and we offered him a place to stay with us. Latiff Mohidin and I were roommates for several months.
That was a time when we struck a friendship. I learned about Latiff Mohidin’s personal experiences in Germany and Southeast Asian sojourns, his ‘Pago Pago’ paintings that he created at the time, and the poetries that he wrote for ‘Dewan Masharakat’ – a cultural and literary magazine by Dewan Bahasa dan Pustaka,” recalled Tajuddin.
“The artistic bohemian lifestyle suits me well then and these instances trigger my interest to be an artist: firstly, the artist who painted en plein air and secondly, Latiff Mohidin – a senior from my school receiving a scholarship to study in Germany,” impressed Tajuddin.
Tajuddin regarded Latiff Mohidin as his mentor. He followed him to visit art exhibitions at Samat Art Gallery, which was located in the AIA building. When it opened in 1965, the 16-story office tower was the tallest building in Malaysia and housed the first escalator in the country.
In 1975, the building was subject to the Kuala Lumpur hostage crisis when five members of the Japanese Red Army or JRA – a militant organisation intent on overthrowing the Japanese government and starting a worldwide revolution – stormed the United States of America’s embassy on the ninth floor. At the time, the building housed five foreign embassies, including those of the United States and Sweden.
At Samat Art Gallery, Tajuddin saw artworks by pioneering modern Malaysian artists such as Dato’ Chuah Thean Teng, Datuk Syed Ahmad Jamal, Datuk Ibrahim Hussein, Khalil Ibrahim, Patrick Ng, Yeoh Jin Leng, Jolly Koh, Latiff Mohidin and many others.
“I was introduced to Khoo Sui Hoe, who is Latiff Mohidin’s long-time friend at Wat Chetawan Buddhist Temple in PJ where Thai Buddhist artists visiting Kuala Lumpur normally stayed. There was a library in the temple basement that had art books and catalogues by Thai modern artists. I had once written to Khoo Sui Hoe in Kedah – expressing my interest in pursuing art formally – and had asked him for advice. He suggested that I should consider MARA Institute of Technology (ITM),” said Tajuddin.
Progressive learning
Heeding Khoo’s advice, Tajuddin applied for the fine art programme at ITM in 1968, but his application was unsuccessful. Undeterred by the setback, he submitted another application the following year and was accepted to pursue fine art studies at ITM in 1969.
“My father, a strict disciplinarian, was unaware of my enrolment in fine art studies. He wanted me to pursue either business studies or law.
A year into my fine art studies, my parents finally discovered I was not pursuing business studies as expected. My parents were disappointed because my father sees no future in me as an artist,” said Tajuddin.
Despite the cold shoulder given by his father, Tajuddin persevered and became one of the top students in this field during his time at ITM.
“I was fortunate to learn from young progressive teachers like Redza Piyadasa, Jolly Koh, Ahmad Khalid Yusof, Sulaiman Esa, Joseph Tan and Choong Kam Kow at ITM.
The experience was invigorating because my teachers were passionate practising artists. Jolly Koh instilled in his students the importance of drawing and colour theory, while Redza Piyadasa was a progressive thinker whose provocative ideas changed our perceptions about contemporary modern art,” explained Tajuddin.
In 1969, Tajuddin became Redza Piyadasa’s apprentice-assistant for an exhibition titled “New Scene” that Redza Piyadasa exhibited alongside fellow Constructivist artists Tan Teong Eng, Tang Tuck Kan, Sulaiman Esa, and Choong Kam Kow held at Samat Art Gallery.
“It was during my apprenticeship with Redza Piyadasa that I learned about Minimalism and Conceptual Art,” said Tajuddin.
This early exposure to geometrical abstraction and conceptual art resulted in Tajuddin’s solo exhibition revisiting his early geometrical abstraction and minimalist work called “Ambiguity” in 2018.
Deconstructing nature
The essence of life, the rhythm of nature, and nature itself often serve as profound inspirations for artists, particularly those working in abstract art. Abstract artists usually seek to capture the intangible essence of existence, the ever-changing rhythms of the natural world, and the beauty found within it.
These concepts influence Tajuddin’s creation of abstract artworks. Striving to capture the essence of life by distilling complex emotions, experiences, and ideas into pure visual form, Tajuddin explores fundamental aspects of human emotions, such as love, joy, sorrow, and existential questioning, through his abstract compositions.
Abstract art allows for a direct and unfiltered expression of the human condition by stripping away representational elements. Tajuddin conveys the essence of life through the use of colour, form, texture, and gesture, inviting viewers to engage with the universal truths and experiences conveyed within the artwork.
Tajuddin Ismail – Simfoni Alam (Merah Biru), 2020 ,213cm x 168cm, Acrylic on Canvas
In “Simfoni Alam” (Nature’s Symphony), rhythmic thick strokes of cool blue emerge within the heat of red—a combination so powerful that it signifies the classical elements of water and fire. In this work, the hypnotising swirls represent the pulsating energy and magnified beauty within the realm of nature. The colours red and blue evoke distinct psychological and emotional responses due to their inherent qualities and cultural associations.
Red is often associated with strong emotions and physical sensations, stimulating the body and mind and evoking feelings of urgency or intensity. Red also conveys excitement, power, and courage, evoking the feelings of love, desire, and warmth. Conversely, it can also evoke anger, aggression, or danger. The emotional impact of red varies depending on its context and intensity.
Blue is often associated with calmness, serenity, and stability. It is known to have a calming effect on the mind and body and is linked to intellect, clarity, and introspection.
Often linked with peace, tranquillity, and harmony, the colour blue evokes a sense of openness and expansiveness, like the vastness of the sky or the ocean’s depth. Blue is also associated with loyalty, trust, and communication. It can convey feelings of sincerity, loyalty, and trustworthiness.
Between 1975 and 1981, Tajuddin studied graphic design at the Art Center College of Design in Los Angeles, followed by postgraduate studies in interior architecture at the Pratt Institute in New York, USA.
“While in America, I witnessed the artworks of pioneering American abstract artists: Willem de Kooning, Mark Rothko, Ad Reinhardt, Joan Mitchell, Helen Frankenthaler and many others. Having a first-hand experience of looking at art in real time was inspirational for me,” said Tajuddin.
As an abstract artist with a universal mindset, Tajuddin emphasises blurring boundaries by creating layers of meaning through his visual poetry. In many of his abstract paintings, flora and fauna metamorphose into a rhythm of colours and form.
Heavily inspired by Mark Rothko, who is known for his large-scale, colour-field paintings characterised by stacked, rectangular blocks of colour, and his work often evokes a sense of spirituality and contemplation through its use of intense hues and expansive fields of colour, Tajuddin’s paintings invite viewers to immerse themselves in the emotional depth of colour and form, prompting introspection and reflection. His minimalist approach allows viewers to project their interpretations onto the canvas, creating a deeply personal and immersive experience that resonates with a broad audience.
The rhythm of nature is a powerful source of inspiration for Tajuddin, who seeks to translate the dynamic energy and movement in the natural world into his artwork. From the ebb and flow of ocean waves to the rhythmic patterns of growth and decay in the forest, nature’s rhythms are reflected in the fluid lines, organic shapes, and dynamic compositions of abstract art.
Tajuddin draws upon the rhythmic cycles of nature to evoke a sense of harmony, balance, and vitality within his work. By capturing the essence of natural rhythms, abstract art connects viewers to the larger cycles of life and the interconnectedness of all living things.
Nature is a boundless source of inspiration for Tajuddin, who is drawn to its infinite diversity, complexity, and beauty. From the delicate intricacies of a flower petal to the vast expanse of the night sky, nature’s forms and patterns provide endless possibilities for artistic exploration.
Deriving inspiration from the colours, textures, and patterns found in the natural world, Tajuddin incorporates these elements into his artwork in imaginative and unexpected ways. Whether evoking the lush landscapes of the countryside or the chaotic energy of an urban environment, nature inspires him to create work that celebrates the beauty and wonder of the world around us.
Like Joan Mitchell, whose abstract expressionist paintings are characterised by energetic brushwork, vibrant colours, and dynamic compositions, Tajuddin’s influence by nature and the landscapes of his surroundings conveys a sense of movement and emotion, capturing the essence of fleeting moments and feelings.
Tajuddin’s bold use of colour and gestural brushstrokes creates a sense of vitality and spontaneity that appeals to viewers’ senses and emotions. His work invites viewers to experience the raw energy and beauty of the natural world, fostering a visceral and immediate connection with a broad audience.
Like Gerhard Richter, whose abstract paintings often explore themes of memory, perception, and the nature of representation, Tajuddin’s use of blurred and scraped surfaces creates a sense of ambiguity and uncertainty, inviting viewers to question their perceptions of reality.
Tajuddin’s work challenges traditional notions of painting and representation, engaging viewers in a dialogue about the nature of art and perception. Similarly, Richter’s ability to evoke complex emotions and ideas through his abstract compositions appeals to many audiences.
Abstract art serves as a conduit for exploring the essence of life, the rhythm of nature, and the profound beauty found within the natural world. Through Tajuddin’s sophisticated and innovative use of form, colour, and composition, he translates these concepts into visually arresting and emotionally resonant artworks that invite viewers to contemplate the mysteries of existence and find solace in the timeless rhythms of nature.
Howard Hodgkin is another artist whose paintings blur the line between abstraction and representation, often evoking memories, emotions, and experiences through his use of colour and gesture. His work is characterised by bold, gestural brushwork and richly layered surfaces—intensely personal, capturing moments of emotional significance and introspection.
Tajuddin’s use of colour and form creates a sense of intimacy and depth, inviting viewers to explore the emotional resonance of each composition. Tajuddin’s work elicits feelings of nostalgia, longing, and joy that resonate with audiences on a deeply emotional level.
Overall, the ideals of Tajuddin’s lyrical abstraction art champion the exploration of form, colour, and emotion, inviting viewers to engage with art on a deeply personal and visceral level. Through Tajuddin’s sophisticated approaches to abstraction, his paintings appeal to a broad audience by creating visually captivating, emotionally resonant, and intellectually stimulating works like Rothko, Mitchell, Richter, and Hodgkin.
Sarah Abu Bakar
14 April 2024
Sarah Abu Bakar with Dato’ Tajuddin Ismail at TJ Fine Art, Kuala Lumpur (10 March 2024)Tajuddin Ismail – Purple Haze Over Orchefield, 2023, 152cm x 152cm, Acrylic on CanvasTajuddin Ismail – Windance III, 2023, 151cm x 152cm, Acrylic on CanvasDato’ Tajuddin Ismail during an interview with Sarah Abu Bakar at TJ Fine Art, Kuala Lumpur (10 March 2024)
TUBUH: Selected Works from the Pakha Sulaiman Collection at URMU Toffee
The Spirit of Steel and Human Resilience
Stepping into the exhibition, one is immediately captivated by Mad Anuar Ismail‘s large-scale sculptures and drawings, particularly from the “Storm Riders” series, which stand out with their distinctiveness.
Mad Anuar’s series of steel sculptures depicting stylised figures, “Storm Riders”, skillfully captures the essence of human resilience and poignantly reminds us of our societal challenges. Drawing inspiration from the daily struggles and enduring spirit of the fishermen in his kampung (village) in Terengganu, “Storm Riders” depicts the fishermen either alone, in a pair, or a group of five, defiantly raising their fists atop oars as they confront the turbulent seas. This narrative of struggle and triumph resonates with all of us, reminding us of our battles and triumphs.
The sculptures’ striking compositions combine exaggerated symmetry and sharp lines with softer curves and subtle movements, creating a powerful visual narrative of heroism and perseverance in adversity. Through meticulous craftsmanship, Mad Anuar imbues the work with triumph and endurance, combining welding and forging techniques on industrial steel, requiring immense skill and precision.
Incorporating traditional and local motifs infuses the sculpture with a distinct Nusantara identity, a term that refers to the Malay Archipelago and its shared cultural heritage. At the same time, the use of welded steel reflects the artist’s contemplation of the tensions between traditional livelihoods and the encroachment of modernity. “Storm Riders” is a testament to both the resilience of the human spirit and the enduring beauty of cultural heritage amidst a changing world.
Next, Raja Shahriman Raja Aziddin’s dynamic metal sculptures are strategically placed along the gallery’s corridor. The robust twists that form warrior-like postures invite viewers to analyse their curved and sharp points, creating an interactive viewing experience that encourages the audience to engage with the artworks on a physical level.
His early sculptures, the “Gerak Tempur” series (1996), three from this series are featured in this exhibition, depicted figures that attracted flaks from the general public, particularly within the Malay Muslim community.
In Islamic belief, the prohibition against depicting the human form in sculptures and paintings stems from a desire to avoid idolatry and ensure that worship remains directed solely towards Allah. This principle, known as aniconism, is rooted in the Quran and Hadith teachings, emphasising God’s oneness and caution against any practice that might lead to worshipping images or idols.
As a result, Raja Shahriman’s inner turmoil led him to seek solace in a different artistic direction. His dedication to seeking truth, exploring faith, and studying religious rituals and ceremonies has inspired the creation of the “Api, Bayangan dan Kemenyan” series (1998), followed by “Semangat Besi (2001), which encourages viewers to concentrate on and connect with their inner strengths. The series builds upon the philosophy of earlier works, delving into the role of aggression within a society shaped by post-industrial economic successes.
In 2004, “Nafas” emerged, a collection of metal sculptures that refers to one of the four elements linked to human experiences: earth, fire, water, and wind. It symbolises the breath of life and the artist’s struggle to express his thoughts through art. The “Nafas” series, characterised by the headless human form, is a powerful exploration of objects that breathe. One of the sculptures and two study drawings are featured in this exhibition.
Characterised by abstract lines from forged metal resembling hands, feet, and the human form, the deconstructed form of “Nafas” represents an attempt to alleviate the burden of human figures on his mind.
In his work, Zulkifli Yusoff delves into the study of human emotions such as anger, fear, surprise, disgust, happiness and sadness – exploring the nuances of emotional expression and advocating for the value of sincere self-expression.
Known for his outspoken nature and willingness to confront controversial topics within Malaysian society, Zulkifli has gained notoriety for critiquing issues such as power abuse, social ills, and injustices. His art mirrors our society, reflecting the harsh realities we often choose to ignore and sparking conversations crucial for our collective growth and progress.
In a series of freestanding steel sculptures—a unique medium in Zulkifli’s multidisciplinary artistic practice—he characterises the human qualities in his canvas work in three-dimensional and tangible formats. Using steel as a medium adds a unique tactile and visual appeal to the sculptures and symbolises the strength and resilience of the human spirit that Zulkifli aims to portray. This innovative use of steel as a medium challenges traditional artistic norms and inspires us to view his characters in three-dimensional form.
The Explorations of Inner Struggles
Inside gallery two, viewers will encounter Amron Omar’s pair of large-scale paintings and a series of drawings that illustrate the combative form of silat.
Amron Omar’s “Pertarungan” is an intense depiction of duelling with oneself through the performance of silat. The traditional martial art is imbued within his environment—his father, a silat master, and Amron, his father’s student. This personal connection to the art form and his family’s influence is a vital inspiration for his artworks, which he brings to life through a meticulous, creative process involving extensive research and sketching.
The diagonal perspectives in Amron’s compositions demonstrate his ability to depict a familiar scene growing up in Kedah – an elevated view from the window of his house overlooking the silat court.
A long-time patron, Pakhruddin Sulaiman, has nurtured a long friendship with Amron. He observes that the pair engaged in a battle are indeed images of the same martial artist—an interpretation of the painter himself. This use of self-representation as a metaphor for personal struggles is a recurring theme in Amron’s works. Adopting the fighting image is a clever visual tool to emphasise or manifest the theme of the greatest battle in Islam, which is the fight or struggle with oneself to fight the dominance of lust in his works of art.
In Islamic tradition, jihad is often understood as a spiritual struggle, commonly called “greater jihad“. This form of jihad involves an internal battle against one’s desires, sins, and temptations. It is the effort to live a righteous life, embodying the principles and values of Islam through self-discipline, self-purification, and moral integrity. This inner jihad aims to achieve inner peace and closeness to Allah, striving to overcome negative traits such as anger, greed, and pride and cultivating virtues like patience, humility, and compassion. This concept emphasises the importance of personal growth and moral conduct in the life of a Muslim.
During the 1980s and 1990s, when figurative art among Malay Muslim artists declined, influenced by the aftermath of the Iranian Islamic Revolution in 1979 and the rise of Islamic revivalism, artists like Amron Omar, Jalaini Abu Hassan, Raja Shahriman Raja Aziddin, Ahmad Fuad Osman, Bayu Utomo Radjikin and several others in this exhibition defied conventional wisdom. Despite the prevailing trends, they boldly pursued overtly figurative artworks, challenging the status quo and swimming against the current.
Jalaini Abu Hassan uses self-representation as an artist embodying the role of a shaman to delve into themes of identity and his Malay heritage, influenced by his familial lineage of shamans. Despite the cultural significance, the integration of animistic beliefs within a predominantly Muslim-Malay identity can generate discomfort and debate.
Jalaini’s artworks embrace his traditional roots, reflecting a personal challenge to reaffirm his artistic prowess. Through an intensive creative process, Jalaini experiments with various media and forms, resulting in enigmatic and evocative drawings that explore spiritual themes and traditional myths.
Key pieces in the exhibition include “The Healer” and “Tok Bomoh”, which pay homage to a shaman depicting Jalaini himself as a traditional doctor, showcasing his self-assured demeanour and cultural influence. These drawings, executed with charcoal and bitumen, demonstrate Jalaini’s mastery of capturing intricate details and evoking emotional resonance. The use of charcoal and bitumen as a medium allows Jalaini to create rich, deep tones and subtle gradations, enhancing the emotional impact of his artworks.
“Bangsawan Melayu” is derived from Jalaini’s solo exhibition titled “Bangsawan Kebangsaan” in Tyler Rollins Fine Art in New York in 2011. The exhibition name alludes to a genre of Malay popular opera known as Bangsawan, intertwined with the concept of national identity (Kebangsaan), akin to a “National Operetta”. Bangsawan, flourishing from the 1920s to the 1960s, blended Malay and Western styles alongside Indian and Chinese influences, featuring vibrant narratives and stock characters like princes, shamans, and enchanting maidens. Jalaini fondly recalls these performances as a primary source of entertainment during his upbringing in a Malay village in the 1960s and 1970s. Much like Bangsawan operas, Jalaini’s work cleverly plays with notions of cultural representation, political intrigue, and the artist’s role on the stage. In essence, Jalaini’s work unfolds as a theatrical presentation in an exceptional performance.
His art is deeply rooted in references to traditional Malay life and culture while also engaging with the contemporary dynamics of Malaysia’s rapidly evolving society. His extensive education abroad influenced him, including an MA from the Slade School of Fine Art in London and an MFA from the Pratt Institute in New York. Jalaini infuses his work with an international perspective and cosmopolitan sensibility. His adoption of bitumen as a principal medium originated during his postgraduate studies in New York City and has since become integral to his artistic practice. Jalaini remains captivated by the potency of iconic imagery, whether traditional or contemporary, continuously pushing the boundaries of drawing and painting as he explores the art-making process.
Bayu Utomo Radjikin’s figurative expressions consistently present a meticulously crafted sense of theatricality. Through his distinctive style of epic realism featuring Malay male protagonists, he also delves into various subjects, ranging from public and personal identity to social commentary and international political tensions.
Beyond drawing and painting mythology and heroism in a distinctive Figurative Realism style, Bayu produces sculptures that explore the spectacle of male identity.
“Growing” is known to be the last sculpture he created based on an image of a boy he saw in a newspaper clipping. Produced in an edition of five, “Growing” features the facial features of a cheerful young boy and a custard apple fruit or buah nona at the back of his head to represent a growing mind.
In his early body of work such as “Helpless: War Poster II”, “Brothers” and “Don’t Let Them Be A Victim”, Bayu conveys the echoes of despair through poignant and harrowing paintings that meticulously document the profound sufferings endured by children amid war, genocide, oppression, and the devastating impact of HIV/AIDS. Each work captures the raw, unfiltered anguish of young lives caught in the relentless tides of conflict, brutality, and disease.
The canvases are a sombre palette of greys, browns, and muted tones, with blood-red speckles reflecting these children’s bleak and desolate environments. His brushstrokes are both delicate and fierce, mirroring the fragile yet resilient spirits of the young subjects. Gaunt faces with hollow eyes peer out from the frames, their expressions a haunting blend of fear, sorrow, and resignation. These are the faces of the skeletal, innocent victims whose dreams and futures have been shattered by the ravages of war and the relentless scourge of HIV/AIDS.
The bleakness of the surroundings amplifies the sense of isolation and abandonment. Amidst the darkness, faint glimmers of hope struggle to shine through. In one artwork, a child clings to the arm of a sibling, their bond a testament to the enduring human spirit. Yet, even this glimmer is overshadowed by the overwhelming sense of despair as survival becomes increasingly precarious and hope fades into the background.
The painting is a powerful narrative that speaks to the enduring human cost of conflict. It serves as a sad reminder of the innocent lives torn apart by war, urging viewers to reflect on the urgent need for peace and compassion in a world fraught with violence and hatred. Through this body of work, Bayu courageously seeks to witness the voiceless and immortalise the suffering that should never be forgotten.
Timeless Narratives
Ahmad Fuad Osman produced larger-than-life self-portraits inspired by the Reformasi – a Malaysian political movement of the late 1990s. These portraits reference the three wise monkeys – the Japanese pictorial maxim “see no evil, hear no evil, and speak no evil”. These renowned paintings have been loaned to his retrospective exhibition “At The End Of The Day Even Art Is Not Important” to coincide with Fuad’s three decades of artistic practice at the National Art Gallery, Kuala Lumpur, in 2019.
In 2007, during Malaysia’s 50th anniversary of independence, Fuad seized the timely occasion to reflect on the nation’s advancement. Recognising the fading memories of historical events among the populace, he embarked on a “Recollections of Long Lost Memories” project. This involved gathering old photographs and digitally altering them to include an imagined Malaysian figure, inviting viewers to accompany the character on a quest for national identity or to enjoy the journey.
Fuad, a skilled storyteller and a truth-seeker, initiates timely and enduring dialogues. The artwork’s tongue-in-cheek titles reflect his conviction that art should transcend mere aestheticism or ownership, instead catalysing conversation and discourse. Far from being provocative, Fuad emerges as someone committed to fostering understanding of his world, whether on an individual or communal scale, exploring themes of race, faith, nationality, and, ultimately, the shared human experience.
In the “Kosong” (Empty) artwork created in 2007, Fuad depicts a portrait of a Palestinian boy looking upwards, seemingly kneeling, pleading for his life. Tears stream down his face, reflecting his fear, while three bolts and nuts pierce his lips, presenting a harrowing visualisation of torture and oppression. This image resonates even more profoundly today in light of the relentless genocide that occurred in Gaza on 7 October 2023, widely shared across social media, thereby heightening the global call for awareness and action.
Challenging Identity
In gallery four, visitors will be engaged with figurative art and portraits of Malaysian women contemporary artists.
Presenting a more convenient and conventional identity of a Malay Muslim woman, Nadiah Bamadhaj adopts a deliberate feminist stance. Her portrayal of wearing a songkok not only acknowledges the racialisation of this identity but also challenges and subverts it. Her chosen lifestyle and personal choices defy cultural stereotypes and societal expectations of what constitutes an excellent Muslim woman’—such as holding a ‘respectable’ job, being married with children, and residing in the suburbs.
Nadiah’s adorning a songkok in “Menelan Kejut, Termuntah Diam” stands defiant amidst the landscape, challenging notions of belonging and acceptance. The juxtaposition of the animate and inanimate suggests a sense of stagnation and the fleeting nature of life.
In “Udang di Balik Batu,” Nadiah explores architectural motifs to depict elements of local life in Malaysia that she finds unsettling or questionable. A translucent bust wearing a songkok with her back facing the viewer is superimposed. The title, which suggests behaviours with ‘ulterior motives,’ indicates a form of authority and leadership that operates discreetly behind the façade of architectural grandeur.
Nadiah finds it intriguing that the high court would feature a religious symbol. She was fascinated by the concept of what one scholar described as an architectural motif transcending boundaries, from mosques to government towers, and how such elements could reflect the dominance of a single group within a culturally diverse nation.
Nadiah’s portraits convey feelings of submissiveness, fear, questioning, and defiance, offering a nuanced reflection on societal norms and power dynamics. These portraits also show how the state and society regulate and restrict the body, dictating specific behaviours and standards. A resident of Yogyakarta in Indonesia since 2002, Nadiah’s current practice delves deeper into her position within the larger context of Indonesian society.
In 2000, Noor Mahnun Mohamed participated in a year-long Rimbun Dahan Malaysia-Australia Visual Arts Residency programme. Surrounded by the natural setting of Rimbun Dahan in a tropical climate where outdoor human activity thrives, the environment sparks an intense longing in the artist to reconnect with nature and explore landscapes. This longing is beautifully exemplified by a painting titled “Sill”, depicting a woman gazing out of a window. The landscape is mirrored in the windowpane, suggesting a deep desire to immerse oneself in nature, albeit not immediately. The painting is a self-referential expression of the artist’s profound sentiments at the time, inviting the audience to feel the same longing for nature.
Noor Mahnun’s “My Red T-Shirt I, II, and III” is a captivating series that showcases the artist in three distinct hairstyles: an edgy crop, a ladylike bob, and long, flowing locks. These hairstyles, subtly changing over time, symbolise the artist’s evolving identity and her exploration of different facets of herself. As her features subtly change over time, she maintains a consistent expression with sealed lips and piercing eyes, seemingly challenging judgment and scrutinising herself in the mirror. This series is a fascinating exploration of the artist’s evolving identity, inviting the audience to ponder the significance of these changes.
Figurative has always been an essential form of Noor Mahnun’s artistic practice. It takes centre stage in the “Pictures of You, Pictures of Me” exhibition in 2005, where this work was the main highlight – shedding the veil of mystery to reveal deeply personal themes. These themes are personal and deeply emotional, inviting the audience to feel the depth of the artist’s self-expression.
Shia Yih Yiing‘s portrayal of herself as a good mother offers an Asian reinterpretation of fairy-tale magic and darkness, blending elements of whimsy with a hint of peril.
Shia’s artistic style, characterised by sentimentality, symbolic depth, and playful imagery, serves as a vehicle for exploring themes such as fantasy, family dynamics, motherhood, and national concerns.
As she witnesses her children growing up, she becomes increasingly preoccupied with the nation’s issues. She aims to express her thoughts and concerns uniquely through “Sarong of Prayer (Fairly Good Mother)”.
Using fairy tales as a narrative device, Shia can convey her emotions, reflections, and societal engagement beyond the confines of domestic life, serving as a form of poetic resistance.
Balancing the roles of mother, wife, teacher, and artist does not hinder Shia; instead, her everyday experiences in each role inspire her artwork, infusing it with a sentimental essence.
Inspired by children’s toys, Umibaizurah Mahir @ Ismail’s figurines embody playfulness and experimental presentation. Bold and adventurous, the works include hand-painted ceramic and terracotta figurines on plinths. Her unique accessories complement these whimsical installations.
Umibaizurah’s insightful ceramics reflect her thoughts on global issues. Deriving from her third solo exhibition titled “Fragile by Umibaizurah: Recent Works 2015–2016 in 2016, “The Lady’ Smoky Haze'” consists of 15 miniature masked busts assembled in a pyramidal form. Each female figurine is distinctive, with eyes, hair, face masks, and plinths painted in various colours. It is a documentation of the air pollution in Southeast Asia at the time.
Visitors will explore Anurendra Jegadeva’s paintings on canvas and found objects (e.g., a rice cooker) along the corridor of gallery four.
Anurendra Jegadeva is celebrated for his thought-provoking socio-political artworks infused with poetic nuances. As a narrative artist and storyteller, he champions the enduring potency of painted imagery, consistently delving into contemporary and historical themes.
Currently based in Australia, Jegadeva draws from personal experiences and responses to his subjects, whether the post-colonial complexities of multicultural Malaysia or the Asian immigrant experience in Australia. In his work, he skilfully intertwines autobiographical elements with the intricate realities he seeks to depict.
Through diverse artworks, Jegadeva explores the paradoxes of modern life and investigates the dynamics of cultural integration amid the juxtaposition of contemporary and traditional values. Employing a variety of narrative techniques, including recurring symbols, colour symbolism, and techniques reminiscent of temple carvers and comic book artists, Jegadeva navigates the complexities of existence with a multifaceted vocabulary as seen in “happymalaysians”, “Big Black Boots with My Girlfriend’s Photo and Three Muzzled Monk Heads” and “The Line”.
Echoes of Reform
Wong Hoy Cheong’s “Migrant Series” emerged from a pivotal period in his artistic journey, from the mid-1990s to the early 2000s, coinciding with a transformative phase in Malaysia’s political landscape. During this time, Malaysia experienced significant economic growth, becoming one of Southeast Asia’s leading economies while also grappling with the rise of racialism and race-based politics. Wong was deeply engaged with these issues, reflecting his country’s post-war development in his art.
The late 1990s saw the rise of the Reformasi movement, sparked by the fallout from Anwar Ibrahim’s deposition by then-Prime Minister Mahathir Mohamad. This movement mobilised citizens to demand profound structural reforms in Malaysia’s corruption-laden political culture. Wong found himself personally and artistically immersed in this period of turmoil.
The “New Migrants” series debuted in an exhibition that also featured the “Migrants” series, consisting of five large drawings detailing the history of Wong’s Sino-Malaysian family, and the “History of Rubber and Labour” installation, which documented Malaysia’s rubber trade and the migrant labour that sustained it. “New Migrants” comprised large-scale charcoal portraits on paper depicting recent blue-collar immigrants to Malaysia from neighbouring Asian countries, namely “Kak Norbati, Office Worker” and “Mohamad Haque, Construction Worker II”.
In “Maid in Malaysia,” Wong deliberately choreographed images of domestic helpers in superhero costumes or heroic characters to look like billboard-size advertisement lightboxes, portraying them as commodified global icons akin to superhero characters instead of promoting the exploitation of maids. For the artist, the kitsch aesthetic was essential. According to data from 2008, Malaysia had as many as 270,000 foreign maids.
In “Chronicles of Crime”, Wong investigated the glamorisation of crime. “Mandi Bunga / Bath of Flowers” re-imagines the gruesome murder of Batu Talam state assemblyman Mazlan Idris by a Malaysian female bomoh (traditional medicine woman), Mona Fandey and her partner in 1993.
Polite Provocation
Noor Azizan Rahman Paiman is one of Malaysia’s leading social commentary artists. He is known for his parodic and satirical portrayals of national figures, protagonists, and antiheroes. Through witty, insightful art, he deftly navigates social norms and politics. His works are rooted in contemporary Malaysian life and offer sly commentary and humorous asides, featuring familiar personalities depicted as flying creatures in the skies.
A substantial number of drawings from his series “The Code” were exhibited at the 5th Asia-Pacific Triennial of Contemporary Art at Queensland Art Gallery in 2006. This series portrays politicians and other figures engaging in typed dialogues in Bahasa Malaysia and English, highlighting the humour and flaws of everyday life and its notable participants. The texts are drawn from newspapers, magazines, and other media sources, resonating with Malaysians.
Vivid and amusing, these sharp commentaries also invoke mythical beings from Southeast Asian folklore, illustrating that contemporary issues and controversial events in Malaysia’s socio-political landscape often mirror ancient stories.
“Pendeklamator Mimpi” is one of the most significant oil on canvas paintings by Paiman that was created in 2012 to document the polls for the Malaysian state governments as indicated by the bar charts on each side of the canvas – on the right shows the numbers from the then government and on the left is of the opposition’s. Paiman’s signature flying creature characters and quirky figures populate the whimsical and vibrant setting. A protagonist cartoon figure adorning gold buttons adds humour to the artwork, symbolically challenging the identity of power.
The Veil of Smoke
Ahmad Zakii Anwar’s most recognisable works are the “Smokers” series, which uses cigarette smoke as a mask to represent our reluctance to reveal our true selves.
Contrary to what Zakii evasively suggests, “The Smokers” series is not solely about his love of smoking. While the series may have been sparked by an incident with a friend, the incident was merely a catalyst. The veil of smoke emerged as a device to explore the duplicitous nature of humanity.
The series is seminal in Zakii’s body of work because it lays the foundation for his later work’s allegorical content and aesthetic sophistication. “Deconstructed Verses,” “Dark Interior,” and “My Finger is on Fire” are featured in Zakii’s solo exhibition, Disclosure, in 2008. The exhibition catalogue represents the first comprehensive study of Zakii’s artistic career spanning two decades since 1988.
Widely recognised as a significant influence on the evolution of figurative realism in contemporary Malaysian painting, Zakii has explored a wide array of ideas and styles in his work, from still life to digital photo manipulation.
Faces of Power
The final gallery is dedicated to witty, satirical, and matter-of-fact portraits of notable Malay politicians, each capturing a distinct phase in Malaysian history.
In two separate paintings titled “Makan” and “Suap”, Mad Anuar Ismail depicts an image of Tun Abdullah Ahmad Badawi, Malaysia’s fifth Prime Minister (2003 to 2009), hand-feeding his deputy Najib Razak (2004 to 2009). Witnessed by Muhammad bin Haji Muhammad Taib, former Selangor First Minister (1986 to 1997) and Rosmah Mansor, Najib Razak’s wife, the celebratory occasion is infused with humour and subtle criticism.
The gesture symbolises scandalous bribes and corruption by those surrounding the Prime Minister, who portrayed the “Mr Nice Guy” or sleepy image during his tenure.
Ahmad Fuad Osman captures Anwar Ibrahim’s infamous black eye incident, which occurred as a result of an assault in prison by the former Malaysian police chief Abdul Rahim Noor on the evening of his arrest on 20 September 1998. Parti Keadilan Rakyat, or the People’s Justice Party, was formed in 1999, using as its flag a symbol of Anwar Ibrahim’s black eye.
Ahmad Zahid Hamidi, Malaysia’s 11th and 14th Deputy Prime Minister, whose portrait is illustrated as a Tiang Seri, or central pillar, holds paramount importance in the traditional construction and engineering of the Malay kampung dwelling. Renowned among the Malays for its mystical significance, the Tiang Seri was believed to safeguard the household by serving as a bulwark against evil forces. In the past, the Malays held the conviction that the Tiang Seri maintained security by acting as a barrier against evil interference.
Here, Ahmad Fuad Osman depicts Ahmad Zahid Hamidi as a figure of resilience and controversy. The artwork represents his rise through the political ranks, juxtaposed with elements questioning his integrity and leadership. He stands on a sturdy pillar, symbolising his contentious role in Malaysian politics.
Pakha’s Portraits
Interspersed along the corridor are intimate portraits of the collector and art patron Pakha Sulaiman. These portraits add a personal touch to the exhibition, highlighting Pakha’s moments of vulnerability when sitting for the artists. As the final section of the gallery, these portraits offer a moment of reflection on the selected artworks for the “Tubuh” exhibition, depicted through the discerning eyes of Malaysian contemporary artists.
Also on display are the actual objects featured in Amron Omar’s life drawings: a Marcel Breuer Wassily Chair depicted in the portrait of Pakha Sulaiman and a yellow single-seater sofa shown in the depiction of Fatimah Sulaiman. Visitors can admire these pieces in the gallery space, bridging the artwork with its tangible inspirations.
Sarah Abu Bakar
Co-curator
Watch CIMB Artober Art & Soul 2024 Presents Art Living with Pakha Sulaiman here.
L-R: Artist Bayu Utomo Radjikin, Emma Shaari, Ahmad Fuad Osman and Pakha Sulaiman.L-R: Artists Bayu Utomo Radjikin and Ahmad Fuad Osman, Emma Shaari and Pakha Sulaiman.L-R: Pakha Sulaiman and Bayu Utomo RadjikinL-R: Artists Noor Azizan Rahman @ Paiman and Noor Mahnun Mohamed @ Anum.L-R: Noor Mahnun and Pakha Sulaiman.Noor Azizan Rahman @ Paiman with his artwork “The Coward’s Family” (2012).Noor Mahnun Mohamed with her artwork “My Red T-Shirt I,II,III” (2005).Noor Azizan Rahman @ Paiman with his artwork “Pendeklamato Mimpi” (2012).L-R: Noor Mahnun Mohamed and Sarah Abu Bakar.L-R: Sarah Abu Bakar and Noor Mahnun Mohamed.
Threads of Perception: Exploring Interwoven Realities
April, 18 – May 11, 2024
HARTA Space
Welcome to Interwoven Realities – a group exhibition at Harta Space – where the boundaries of reality blur and intersect in a mesmerising display of artistic expression. Interwoven Realities brings together the works of 32 talented artists, each offering a unique perspective on the intricate tapestry of existence.
Within these walls, you will encounter a diverse array of styles and mediums, reflecting the multifaceted nature of our shared reality. From the ethereal landscapes of abstraction to the precision of geometric lines, from the evocative narratives of figurative art to the cutting-edge innovation of digital creations, every piece contributes to the rich fabric of our collective experience.
Sculptures rise like monuments to human ingenuity, while text-based art speaks volumes in its silent eloquence. Textile and fibre-based works invite touch, weaving threads of meaning and memory into tangible form.
As you wander through this exploratory exhibition, allow yourself to be transported beyond the confines of everyday perception. Here, the boundaries between the real and the imagined blur, inviting contemplation and sparking conversation. Interwoven Realities invites you to discover the myriad ways in which our world is shaped, connected, and transformed through the lens of artistic vision.
Let’s delve into the curated journey through diverse thematic sections that illuminate the complex tapestry of existence through compelling artworks and discover the captivating narratives woven by our talented artists:
Abstraction: Enter a realm where form dissolves into essence, as Adam Ummar (Universo), Alicia Lau, Azam Nasri, Emy Thiran, Mulaika, Kika Goldstein, and Nini Marini evoke emotions and provoke thought through their enigmatic compositions.
Digital Art: Witness the convergence of technology and creativity as Aliya Mai Sarah pushes the boundaries of visual expression inspired by the potent beauty of Garcinia atroviridis, a homage to nature’s quiet power and resilience.
Figurative: Explore the depths of human experience through the dreamlike interpretations of Danielle Lin, Lim Yong Wei’s pursuit of personal strength, and Elly Nor Suria’s evocative representations.
Geometric Lines: Experience the harmony of tradition, materiality, and introspection through intricate patterns and precise forms by Agnes Lau, Arikwibowo Amril, Cheong Tuck Wai, Falil Johari, Farah Ashira Mohammad Ariffin, and Fazrin Abdul Rahman.
Sculptures: Marvel at Mohd Saharuddin Supar’s Bom Bunga, forged from mild steel in an expression of freedom and physical manifestation of artistic vision in three-dimensional form and Anniketyni Madian’s delicate yet sturdy embodiment of beauty and tradition weaving together original songket, 3D laser cut motifs, with resin, wood and metal in an exquisite wall-mounted sculpture.
Text-based Art: Delve into the fusion of semantics and graphics as Abu Fikrah, Ammar Idris, Anas Afandi, Muhammad Ibrahim, and Raja Muhammad ‘Imran weave language into visual narratives, enhancing conceptual artworks with layers of meaning and introspection.
Textile, Fibre and Alternative Art: Immerse yourself in emotive expressions crafted from textile, fabric, and alternative media, as Ang Xia Yi, Cheong See Min, Jakob van Klang, Kimberley Boudville, Nadia Nizamuddin, Nor Tijan Firdaus, Nurul Diyana Kairulanuar, and Xeem Noor weave together personal memories and experiences to explore the intersections of the personal and the universal.
Each section offers a distinct perspective on the interwoven realities that shape our world. From established luminaries to emerging talents, these artists invite you to journey through the intersections of imagination and truth, where meaning unfolds in myriad forms.
Habib group executive chairman Dato’ Seri Meer Habib at the media launch of “Interwoven Realities” at HARTA Space on 18 April 2024.Sarah Abu Bakar in an interview with the media at the launch of “Interwoven Realities” at HARTA Space on 18 April 2024.
Framing a Moment in Fathers and Daughters’ Journey with Art
Nazura Rahime and Sharmin Parameswaran are the sole daughters of Rahime Harun (1954 – 2008) and Dato’ N. Parameswaran (1948 – 2022) and grew up amidst their respective fathers’ art-collecting journeys. “Bapaku Pulang” encapsulates the early recollections of both daughters as preschoolers growing up with art until adulthood. With the exhibition, Nazura and Sharmin offer a glimpse into the selection of artists and subject matters that their fathers favour with the intention of breathing new life and meaning into the artworks.
Rahime and Dato’ Parameswaran connected through art when Rahime founded A.P Art Gallery in 1983 with his late wife, Zarina Ariffin (1955 – 2010), Nazura’s mother. Initially located at the Anak Alam Space in Padang Merbok, Kuala Lumpur, the gallery opened in Equatorial Hotel, Kuala Lumpur, then moved to KL Hilton, Jalan Sultan Ismail, Kuala Lumpur. Rahime acquired a three-storey building in Taman Melawati, Kuala Lumpur, in 1993 that now houses Nazura’s production company, Manggis Group, which was established in 2003 with her husband, Fauzee Nasir and A.P Art Gallery since its resurgence in 2018.
Dato’ Parameswaran joined the Ministry of Foreign Affairs Malaysia in 1969. Between 1971 and 1981, he served the Malaysian Missions in Jakarta, New York, Addis Ababa, and Nairobi. While in New York, USA, from 1973 to 1975, Dato’ Parameswaran began visiting art museums with his wife Lyn Loh Siew Ling (1948 – 1991), Sharmin’s mother. They first met as sixth-form students at the Anglo-Chinese School in Ipoh, Perak.
“My mother was the one who was artistically inclined, and inspired my father with her appreciation for visual arts and music. I have fond memories of my childhood listening to her play the guitar singing my favourite song as a kid, ‘Angel of the Morning’. I think the start of my father’s passion for the arts came from her,” recalled Sharmin.
Sharmin was born in Kuala Lumpur in 1978. At the time, Dato’ Parameswaran was the Charge d’ Affaires for the Embassy of Malaysia in Addis Ababa, Ethiopia. From 1986 to 2008, Dato’ Parameswaran was Head of Missions in Switzerland, Vietnam, and Singapore.
Nazura was born in her mother’s hometown in Kota Bharu, Kelantan, in 1979. At the age of four, Nazura spent her weekends at Rumah Anak Alam – a bungalow that housed artistic activities by artists, poets, and theatre actors – and attended art lessons with resident artist K. Thangarajoo alongside artist-couple Mustapha Haji Ibrahim and Maryam Abdullah’s son, Zaihan.
Rahime was remembered as “a passionate champion of Malaysian culture” and “a highly competent art business entrepreneur and administrator”. He instilled in Nazura the greatest gift of life values, hard work, and perseverance.
When A.P Art Gallery opened an outlet in Central Market, Kuala Lumpur, in 1985, Nazura assisted her parents on weekends. Her task was to sell postcards to tourists for 60 cents. She earned RM10 a day and looked forward to spending her hard-earned income at Kentucky Fried Chicken.
“My father used to tell me every time he spoke about art: ‘Paint what you see, know and feel’. Anak Alam and Central Market were my playgrounds when growing up. Art museums and galleries across the country were my holiday destinations, where most often I would be throwing tantrums in front of these museums as I did not appreciate art as a child. Looking back on these memories, I realise that this love-hate relationship I have with art is what I treasure now, each artwork a reminder of my life. For ‘Bapaku Pulang’, I am looking to pass on the artworks knowing it will give a new meaning to others.”
In 1984, Rahime Harun attended a Diploma course in Entrepreneurship Development (Art Business) in Turin, Italy, to serve the Malaysian art market. He took the opportunity to visit the Peggy Guggenheim Collection. This museum houses the personal collection of Peggy Guggenheim’s 20th-century European and American art, which inspired him to own a private museum back home.
In 1995, Rahime Harun presented an exhibition titled “Pursuing a Dream – The Collection of Rahime Harun” at Galeri Petronas, Kompleks Dayabumi, Kuala Lumpur, which featured 135 artworks by artists such as Abdullah Ariff, Datuk Syed Ahmad Jamal, Latiff Mohidin, Siti Zainon Ismail, Khalil Ibrahim, Ahmad Zakii Anwar, Rafiee Ghani, the Matahati collective, and more.
The exhibition was held in conjunction with his 42nd birthday. The launch coincided with the signing a memorandum of understanding between Rahime Harun and Perbadanan Muzium Melaka to loan his art collection to Muzium Melaka.
As for Sharmin, her parents separated when she was eight years old. Her mother raised Sharmin until her untimely demise in 1991. Sharmin then lived with her maternal uncle and aunty throughout secondary school and college. While commencing tertiary education in Australia, she travelled to Europe and America solo – a brave endeavour for a young woman, reflecting her independent and strong-willed nature. In 2000, Sharmin graduated with a BA (Hons) in Commerce, majoring in Accounting from the University of Melbourne in Australia. She began her career in the media industry in 2003 and crossed paths with Nazura.
Dato’ Parameswaran was introduced to many artists of the time by Rahime; among them was Malaysia’s foremost wayang kulit artist, Nik Zainal Abidin, sculptor Raja Shahriman Raja Azzidin and printmaker Juhari Said.
During Dato’ Parameswaran’s stint as Ambassador of Malaysia, he has hosted several excursions for Malaysian artists abroad. An example is an excursion organised by the Malaysian Artists Association led by Ahmad Khalid Yusof to Hanoi, Vietnam, in 1993.
During the trip, artists like Rahime Harun, Zarina Ariffin, Khalil Ibrahim, Long Thien Shih, Sanip Lasman, and Ahmad Zakii Anwar, among others, visited artists’ studios, art exhibitions and cultural programmes.
An exhibition titled “Titian III” by Malaysian artists was held at the Hanoi School of Fine Art in Hanoi, Vietnam.
This moment was captured by Rahime and Zarina as exemplified in their watercolour paintings titled “Teatime” (1993) and “The Passage, Hanoi” (1993) featured in ‘Bapaku Pulang’.
Although Dato’ Parameswaran spent 39.5 years working abroad, he did make time with Sharmin to do activities he loved at home, such as visiting artists at their studios or having meals with them and discussing art. Sharmin’s lack of enthusiasm as a teenager for these types of outings corresponds with Nazura’s.
For Sharmin, visiting family members in Penang will ultimately be extended to paying visits to artists like Tan Choon Ghee, Dato’ Tay Mo Leong and Penang Art Gallery’s Dato’ Dr Tan Chee Kuan.
“My father funded my first year of university by selling art, especially as I was abroad during the 1997 financial crisis where the Malaysian ringgit plummeted.” said Sharmin.
In 2015, the National University of Singapore Museum presented an exhibition titled “Vietnam 1954 –1975: War Drawings and Posters from the Ambassador Dato’ N. Parameswaran Collection”, which showcased one of the largest known singular collection of drawings and posters from the Vietnam War” on loan to the NUS Museum for a period of three years to prospect research and to facilitate teaching.”
Sharmin explained: “Inheriting an art legacy swings between daunting and exciting. My father has passed on for more than a year, and I am still going through his collection attempting to understand his reasons and passion for collecting. ‘Bapaku Pulang’, featuring Malaysian works, is just the start of this process, where I do intend for the collection to move on to where it would be appreciated and best resonate as art will mean different things to different people.”
She also shares similar views and perspectives on art with her father. Both appreciate visual arts based on sight, emotions and develop a bond with artists by talking to and working with them. “However, where we differ is in the appreciation of mediums, with my father having a preference for traditional paintings, a medium in which he is familiar and knowledgeable with. As for myself, having grown up across analogue and digital media, I have an appreciation and excitement for progressing forms and mediums of art expressions. Not to mention, being a fan of current popular culture,” said Sharmin.
The father-daughter duo worked on a project together, culminating in an exhibition titled “At First Glance” in 2012 that was held at White Box, Publika, Kuala Lumpur. The show has given impetus to impending curatorial work for Sharmin, which has surpassed 40 art events.
In 2013, Dato’ Parameswaran established Interpr8 Art Space, an art gallery in Publika, Kuala Lumpur, with Sharmin. His interest in acquiring, collecting, and deaccessioning artworks was most active during this period. Among the solo exhibitions he organised at Interpr8 were by Nik Zainal Abidin and Haron Mokhtar.
In Nik Zainal Abidin, Dato Parameswaran found lasting friendship until the artist’s demise in 1993. Dato’ Parameswaran admired Nik Zainal’s use of vibrant colours to depict the accuracy of the characters from the Hindu epic, Ramayana.
Dato’ Parameswaran also had a strong interest in Dzulkifli Buyong’s work. In 2019, Sharmin interviewed her father to discuss the talented artist’s work. His account of the published interview reads:
“It was through the late Rahime Harun, who ran an art shop at the National Art Gallery. I used to go there very often, and we became very good friends. Rahime knew of my interest in Dzulkifli Buyong (Dzul) as the National Gallery used to feature his works frequently. There was a group show in 1986, in which Dzul was exhibiting. I went there excitedly, and of course all his works had been booked already. One work, ‘Menghafal’, was of a girl walking and memorising a book, and a cat following behind. This work had been booked by Rahime, and because he knew of my keen interest, he said to me, ‘Since you like Dzul so much, I’ll transfer my booking to you.’ That was how I got my first Dzulkifli Buyong artwork. And it was Rahime who told me to go and see Dzul. He revealed that Dzul had a series of watercolour self-portraits that few had seen. Rahime was at that time one of the best art entrepreneurs in town.”
When Sharmin asked when Dato’ Parameswaran began to take an active interest in Malaysian visual art, he replied: “It was much later in 1985. I was flying back to New York one day, with a stopover in Taiwan. On the plane there was a magazine called Salam, a magazine of the Malaysian Hoteliers Association, and outside on the cover was a Tan Choon Ghee artwork. I took the magazine, and inside there were many pictures of his works reproduced, which reminded me so much of Dong Kingman. I read the article, and it said that the person who was handling the artworks was Victor Chin of Rupa Gallery, at that time located in Old Town, PJ. When I returned from that trip, I went to find and meet Victor Chin, with the intention of buying and perhaps meeting Tan Choon Ghee. Instead, I ended up buying my first ever artwork, a stone lithograph by Victor Chin at RM400. It depicted minaret tops of the KL railway station building.”
The lifelong journey of art collecting comes with excitement and grievances – the mutual feelings that Nazura and Sharmin have in common. Having left with their fathers’ legacies, Nazura and Sharmin come to terms with everlasting memories attached or detached to/from objects of desire and, in doing so, experience grieving/celebrating a loved one.
National laureate Baha Zain captures the essence of the patriarchal figure in his poem titled “Bapaku” (1979):
Bapaku
Dia tak memerlukan kemasyhuran atau kuasa
Dan tak memuja sesiapa
Dia bagai gunung Titiwangsa
Selalu di depan mata
Tidak memberi penjelasan
Dan tidak meminta maaf.
ISMAIL MAT HUSSIN
Untitled
Watercolour on paper
80 x 92cm
RM 2,800
Ismail Mat Hussin (1938-2015) was a remarkable artist whose batik paintings captured the attention of Malaysian art lovers with his technical mastery and representations of Malaysian daily lives. This watercolour on paperwork depicts a motherly figure with her four children leisurely lounging on the compound of their kampung house. This heart-warming scene of simple living illustrates the pleasures of family bonds. Ismail Mat Hussin was a member of the Angkatan Pelukis Semenanjung (APS) Kelantan and Persatuan Seni Lukis Kelantan (PESENI).
ALI ‘MABUHA’ RAHAMAD
Egypt II, 1979 Oil on canvas 27cm x 20cm
RM 3,500 SOLD
Ali ‘Mabuha’ Rahamad (b. 1952) spent over four decades travelling the world from Singapore, India, Nepal, Pakistan and Afghanistan to Turkey, Greece, Switzerland, Holland, Germany, Egypt and more. Ali captures the complexities of the modern world and the intricacies of the hundreds of cultures that span the globe, such as this oil painting titled “Egypt II”, dated 1979.
Ali was a member of the influential Anak Alam collective in the 1970s and was involved with Angkatan Pelukis Semenanjung. Ali is A self-taught artist known for his surrealistic style and masterful use of colours that invoke feelings of serenity, peace, and calmness amid worldly turmoil.
MARYAM ABDULLAH
Kinabalu, 1985
Pastel on paper
83 x 64cm
RM 8,000 SOLD
Maryam Abdullah (b. 1951) is an abstract artist most active during her years with the Anak Alam group of the 1970s. This pastel on paper titled “Kinabalu” depicts 12 multi-coloured abstract shapes and stylised icons floating against an arc demarcated by a solid colour palette of pastel pink and light blue. Her delicate and feminine interpretation of nature reflects the agenda of the time: “the desire to become one with nature”. Maryam, alongside Mustapa Haji Ibrahim, managed the premises of Anak Alam colony, Rumah 905, in the 1970s.
MUSTAPA HAJI IBRAHIM
Untitled, 1988
Acrylic on canvas
89 x 130cm
RM 12,000 SOLD
Mustapa Haji Ibrahim (b. 1946) is an unassuming artist who prefers to keep a low profile, loyal to the ways and views held by the Anak Alam members. In 1974, he was one of the artists who formed the Anak Alam collective. His art activities had already started before he enrolled in the Angkatan Pelukis Se-Malaysia (APS) at the Taman Budaya Studio, Jalan Ampang, Kuala Lumpur, in the late 1960s. Among his solo exhibitions include shows at the British Council in 1973, Anak Alam Studio in 1979, the Equatorial Hotel in 1983 and “Mustapa Haji Ibrahim: Paintings 1968-2008 4th Solo Exhibition” at RA Fine Arts, Kuala Lumpur in 2008. His paintings reflect his passion for nature, expressed through organic shapes and forms in a harmonious colour palette.
MOHAMED ZAIN IDRIS
Rural Passage, 1982 Watercolour on paper 106 x 84cm
RM 8,000
Mohamed Zain Idris (1939 – 2000) was a gifted artist who excelled in watercolour, capturing the spectacular scenes of idyllic rural Malaysian landscapes such as “Rural Passage”, created in 1982. Born in Kampung Nail, Besut, Terengganu, Mohamed Zain Idris attended Sekolah Melayu Kuala Besut in Terengganu and was later honoured as the Terengganu state’s Guest Artist by the 10th Chief Minister of Terengganu, Tan Sri Haji Wan Mokhtar bin Ahmad from 1991 to 2000. During his lifetime, he held four solo exhibitions with Samat Art Gallery (1971 and 1972), at Hotel Equatorial (1984) and Hotel Shangri-La (1987) in Kuala Lumpur.
NIK ZAINAL ABIDIN
Wayang Kulit in Red & Green, 1989
Watercolour on paper
50 x 57cm
RM 8,000 SOLD
Nik Zainal Abidin Nik Mohamad Saleh (1933 – 1993), known as Nik Zainal, is revered for his impeccable drawings, illustrations, and paintings of the characters from the Hindu epic Ramayana. A self-taught artist, Nik Zainal moved to Kuala Lumpur in 1955 and attended informal art lessons with the Wednesday Art Group led by Peter Harris. In 1960, he was commissioned by Tunku Abdul Rahman, Malaysia’s first Prime Minister, to design the “Kunci Ibu Kota”, the Royal Throne for the first Yang-di Pertuan Agong and cokmar.
The late Dato’ N. Parameswaran was known to own “the biggest single collection of Nik Zainal’s works”. In 2013, Dato’ Parameswaran organised an exhibition titled “Nik Zainal Abidin: Malaysia’s Foremost Wayang Kulit Artist” that showcased more than 60 of Nik Zainal’s works in various media and wide-ranging subject matters such as figurative, Islamic calligraphy and landscape. Dato’ Parameswaran purchased his first Nik Zainal artwork through the late Rahime Harun, an art dealer and owner of A.P Art Gallery, in 1986.
TAN CHOON GHEE
Nagore Durgha Sheriff, Leboh Chulia Penang, 1986
Watercolour on paper
66 x 76cm
RM 8,000
Tan Choon Ghee (1930 – 2010) was an observant visual artist interested in chronicling street scenes and historical buildings. Many fine examples are manifested through his watercolour and ink renditions of daily activities in Penang, such as this immaculate work titled “Nagore Dargha Sheriff, Leboh Chulia Penang).
Constructed in the early 1800s by the Chulia community as a Muslim sacred shrine for the revered Sufi saint Shahul Hameed (1490–1579 CE), the original Nagore Dargah that houses the tomb of Shahul Hameed is in Nagore, a coast town in Tamil Nadu, India.
FUNG YOW CHORK
Masjid Tengkera, Melaka, 1984
Oil on canvas
49 x 43cm
RM 2,500 SOLD
Galeri Puteh presents a group exhibition showcasing artworks by 41 artists and friends from the Ara Damansara art enclave. Representing some contemporary artists who work from studios in Ara Damansara, Selangor, “ADA Kawan-Kawan” embodies the alliance and camaraderie within the artist’s community cultivated by the Universiti Teknologi Mara fraternity and beyond.
An expansion from the 2015 “ADA Show” that featured 17 artists, “ADA Kawan-Kawan”, establishes the evolution and growth of an artistic emplacement – its geographical setting and accessibility that attracts new generations of artists to inhabit and make art within proximity.
This show highlights young and senior artists’ diversity in artmaking and creative pursuits, ranging from drawings, paintings, sculptures, and installations. Sharing the theme of progression, the Ara Damansara artists strive for success in their endeavours, with many starting as apprentices before becoming professional artists and some working day jobs as art administrators, photographers, graphic designers and art dealers.
Abstraction
Among the Ara Damansara artists who explore the panache of abstraction as visual representation are Adli Nazrin, Ahmad Fuad Osman, Akif Azmi, Amirul Roslan, Fadzril Fakaruddin, Faris Ridzwan, Fazrin Abd Rahman, Hidayat Arshad, Izzuddin Basiron, Khairul Arshad, Nadzrin Haziq, Nazhan Fikri, Rashid Nor, Shaufi Yatim and Syed Fakaruddin.
Ahmad Fuad Osman produces sketches and drawings in ink on loose paper – some with streaks of colours – in between his activities as a “warm up” or “let go” process in his art studio. In 2010, he shared a working studio with Nizam Rahmat in Ara Damansara. The suite of drawings on display serves as an alibi or reference for his visual diaries from a specific memory, place, and time.
For example, in 2007, Ahmad Fuad Osman was based in Rimbun Dahan, Kuang, for a year-long residency programme. He then worked from Ara Damansara in 2010, moved to a studio in Sungai Buloh, and concurrently worked from Bali. In 2021, he started producing artwork from a studio in Klang.
Akif Azmi’s “Tumbuh Berpunca” features a collage of fabric, polyester thread, and acrylic paint on fabric. Monochromatic tones of mainly black with grey and white undertones and streaks of orange that form the motifs from the textured fabric create an alternative perception of abstraction. Through this work, he conveys a positive message of striving for the best in life.
He explained: “The usage of various types of fabrics from different clothing serves as a metaphor for life’s journey. At times, we experience happiness, sadness, disgust, fear, surprise, and anger, but it is essential to embrace this journey while continuously improving ourselves for the better. We should firmly believe that we are ‘Tumbuh Berpunca’ signifying that everything that unfolds in life has its own purpose and rationale.”
“Kawasan Sehaluan” by Amirul Roslan depicts multicoloured bold dots, streaks and lines forming organic bulbous shapes evocating marine organisms or underwater coral reefs in pastel colours.
His work highlights the importance of one’s environment that will determine life’s success. He described: “If the landscape is beautiful and well maintained, it makes us positive even though life has obstacles and challenges.”
Fadzril Fakaruddin creates an abstract landscape in a conjoined square canvas in varying sizes – giving the viewer an impression of a window frame perspective of a breathtaking view of a dynamic landscape in bright neon colours.
“My investigation has resulted in this extensive painting with my personal interpretation of physical and emotional mindscape. In my artmaking process, I have recreated the form and structure from nature using brush strokes suggesting a sense of inspired immediacy in capturing the moment. I express my inner world using linear texture with elements of striking colour palette,” he said.
For Faris Ridzwan, the tactile quality of his visually stunning paintings creates an illusionary depth through the layers of shape-shifting form in a vibrant colour palette. His “Masonry” series explores “identity, history, and the symbiotic relationship between human-made structures and the natural world.”
Fascinated by “the ability of bricks and stones to hold stories, memories, and cultural significance within their very essence, he seeks to capture the serene beauty of Indonesia’s landscape, inspired by the rhythmic arrangement of steppingstones found throughout the country.”
In “Cross a Stream”, Faris Ridzwan illustrates rows of multicoloured diamond-shaped tiles to reflect the diversity of Indonesia’s geological formations. He further explained: “Smooth river pebbles, worn by the passage of time, offer a gentle and comforting tread, while rough-hewn stones evoke the ruggedness of volcanic landscapes. Each stone brings unique shape and texture, invites contemplation and connection with the environment, allowing him to fully absorb the tranquillity and beauty of their surroundings.”
“Decorated with Sedentary Life Forms” features oval forms that differ in size, colour, and composition to represent the process of human creation based on Surah Al-‘Alaq verses one and two from the Holy Quran: “Read, ‘O Prophet’, in the Name of your Lord Who created— created humans from a clinging clot.”
Faris Ridzwan said: “I found this story to be inspirational, leading me to produce artworks where blood cells were adopted as my subject matter. This metaphor of life or the birth of something new is present throughout my artwork and my journey as an artist. Hence, the idea of this artwork, being reborn, and blood cells are very much connected and intertwined with each other.”
Fazrin Abd Rahman‘s “Fragrance” depicts a silver geometric floral motif weaved using aluminium strips that takes inspiration from a traditional Malaysian embroidery named “Sulaman Bunga Ator” after the fragrant flower Melodorum samensis, a family of Ylang-Ylang, which typically blooms in home gardens.
According to the artist: “This artwork gives space for change and transitions from something old into new through the conversion of traditional materials to modern materials. Although the terminology of the original material language has been changed, it still retains the original identity.”
Izzuddin Basiron produces “Medan Perang”, or battlefield, to replicate his studio wall on canvas. His artistic process, which includes all the materials used to create his paintings apparent – strips of masking tape painted over in bright colours and residues of spray paint epitomise “behind-the-scenes” evidence or the imprints of his crisp geometric lines and flat surfaced cityscape series of paintings.
“Arena” by Khairul Arshad features intricate lines that illustrate the characteristics of plants with thorns, spines and prickles, such as durian and cacti, among other botanical plants, as life’s metaphors. In his signature painting style, Khairul Arshad adorns his canvas with linear shapes of varying dimensions to create stencilled and woodcut effects. The elaborate process entails layers of interconnected lines built upon the detailed background.
In his artistic statement, he references the Malay proverb “Kalau tidak dipecahkan ruyung, manakan dapat sagunya”, which means success will not be achieved without effort to describe the visual interpretation based on his observations about life. He uses a variety of subjects, such as nature, as a metaphor to form an imaginary space to convey their symbolic meanings.
Nadzrin Haziq’s rich autumnal colour palette, consisting of orange, tangerine, yellow, brown, red and pink, evokes a sense of comfort and warmth. Titled “Into the Wood”, this abstract painting continues his series from the “Essence” solo exhibition in 2022. Working intuitively without preliminary sketches, Nadzrin Haziq considers incidental marks as engaging in a fluid dialogue with a blank canvas.
He said: “Into the Woods” denotes happy ever after. I want to celebrate the process and progress in life even when there are mistakes that I need to learn. The method of making this artwork involves decision and progress.”
Nazhan Fikri‘s “Rainfall” features a monochromatic image that suggests the repetitive formation of plant roots. Presented in landscape orientation, the black and white composition that likens the tie-dye technique dominates three-quarters of the canvas, while the lower section is black.
The artist explained: “My work often embraces dualities such as inside and outside, lightness and heaviness, calm and chaos, illusion and reality. My work is familiar and mysterious, enigmatically between the abstract and figurative. The emotional intensity I convey in my work results from a sustained exploration of my response to the natural environment.
My works hover between abstraction and figuration, create a window onto the outside world, and can be interpreted as details of organic forms such as nature formations.”
Syed Fakaruddin’s visual perspective conveys an intimate story that chronicles his health and well-being, a subject rarely discussed that he has bravely expressed through a new body of work from his “Painkiller” series.
Titled “Painkiller: Isolasi di Gaster”, the composition illustrates a long red, narrow tube that coils in a winding and looping manner against a murky and cold landscape indicated by the colour palette. The series continues from the “Soulful” series featured in his first solo exhibition, “Bumi Asing”, in 2018.
He explained that the “Painkiller” series represents an imagined landscape’s physical and human emotions. It highlights pain and damage to internal organs in a quiet setting.
“This work is about my experience suffering severe gastric. I produce the intestine as a subject that spirals over the quiet landscape for the audience’s view of my expression.”
Figurative
Representing the figurative theme that encompasses human figures, portraits, cartoon characters, images of flora and fauna are Aiman Aisamuddin, Aimman Hafizal, Alysha Fahmi, Aswad Ameir, Cinta Ayuandrea, Fawwaz Sukri, Fudhail Said, Hamizan Yusof (Mije), Lina Tan, Najib Bamadhaj, Sabihis Md Pandi, Sudin Lappo, Shafiq Nordin, Sofia Haron, and Syukur Rani.
“Clash of Clans” by Aimman Hafizal features an aerial view of a minuscule scenery with playful characters engaging in various outdoor activities in the lush landscape of “Komodo Land”. Aimman Hafizal creates a charming, whimsical visual escapade using a cool colour palette of blue and purple.
He stated: “In my creative journey, I have always found inspiration in using well-known characters from movies and animations as a playful way to tell stories in my artwork. This time, I decided to take a different approach and create my own original character, inspired by animals as a means of developing my own identity as an artist. This ‘process’ allows me to explore the realm of possibility without questioning the ‘how’ and ‘why’ of the story within my artwork, granting me the freedom to construct my very own universe.”
Aswad Ameir is a multidisciplinary artist whose early paintings subscribe to the abstract expressionism genre. For “ADA Kawan-Kawan”, he presents figurative paintings in the form of portraits and allegorical representational.
“Adagio (Black Series)” features an anonymous pair of feet standing on the ground. Its legs and upper body are covered in a balloon-like form. According to Aswad Ameir, “Adagio conveys the life of the artist emerging from the darkest part of his life. The life that is full of agony, unspoken words, and issues that were left unresolved. The artist is now out to embrace his past, learning to be the person he is destined to be and living the life that is ordained for him. This piece is particularly inspired by the book ‘Killing Commendatore’ by Haruki Murakami.”
An excerpt from his poem titled “Black Series (Absurd Reality)” reads:
“Black exudes a space without time and place,
its purity transcends the mind into the unknown.
It greets the mind with darkness, apprehensive,
melancholic,
earnest.
It breathes life one cannot have,
love one cannot embrace
and darkness that cannot be touched.”
Fawwaz Sukri creates “Fortune Teller” and “Girl’s Love” as part of his “Life is Wonderful” series, where he uses human emotions as his central theme. He said that “love is an emotion filled with hope and happiness. When you love someone, times go as fast as depicted in ‘Girl’s Love’. The background, which is created by complex layering of transfer images and acrylic talks about the obstacles when you love someone whether it is hurtful, joyful, or wonderful. It is a human desire to be loved and to love someone as it is part of the human nature.”
Fudhail Said creates a larger-than-life self-portrait in a greyscale colour scheme. His eyes are closed, and his facial expression indicates calmness. He explained: “’Goodbye, My Past’ contemplates the continuity and progress of a person. It symbolises a person’s belief in a particular phase or stage in life that realigns with who he is evolving into and where he might become in the future. The artwork emerges from the subject with a gradient tone of black and white, somehow reflecting the ageing process and the passage of time. As a result, it allows us to pause, connect, and reflect upon memories and our present lives.”
“The Surveyor Surveyed the Servant” by Hamizan Yusof depicts a red Donald Duck head gazing away from the viewer – sporting a red Polo T, yellow jacket, blue trousers, and a pair of black boots – sitting on a wooden chair. The vibrant painting references cartoon characters, landscapes, street graffiti, and the artwork title inscribed in mirror writing.
According to the artist’s statement, the artwork evokes a longing and nostalgia for Hamizan Yusof, who has pursued another career. He said: “Based on my previous life as a full-time artist, I created a series of Mickey Mouse icons as my subject. I began studying iconic characters and was later attracted to animals as prominent personalities.
As time changed, I reached a point when I stopped creating art. It sparked in me that I am no longer in the same field. My surroundings change every year. However, I am still trapped in this art world and tried to find a moment that I could keep on creating artwork. Imagining some ideas to create new art is challenging because of the ever-changing surroundings.
I am placing myself as Donald Duck sitting on that thinking chair, wondering how to run away from this art world to work as ordinary people do. But now, I always miss the lovely life of being an artist.”
“Did I Do Something Wrong” by Shafiq Nordin illustrates the cultural icon Pinocchio, reimagined with a fantastical mushroom cap, neon green wings, flamboyant pink bowtie, and a long nose that ejaculates. Shafiq Nordin said, “If all human deceptions could be seen physically just like Pinocchio whose nose would become long if he lied, people would be afraid to commit fraud, and the world would be more peaceful.”
Sofia Haron‘s ” Mother “is a titillating work on a triangular canvas. Nude figures in embracing postures drift liberally around the canvas. Diamond grids of colour blocks in shades of pink create a delicate movement that reaches for the apex.
She stated: “As a woman and an artist, I have always believed that colours connect intimately with our emotions, and I approach my art through this unique perspective. My art celebrates a vibrant and multifaceted world of emotions as experienced through the lens of femininity. The view towards women has been ever-changing throughout the years, and it is always a fascinating topic for me to observe and consume.
In my artistic process, I draw inspiration from the diverse array of emotions that women encounter daily, such as joy, love, sorrow, anger, hope, and everything in between. The visual narrative speaks of the courage, vulnerability, and empowerment of embracing one’s emotional journey.
In a world that often seeks to constrain and categorise, I believe in the power of colours and emotions to break free from those limitations. I want to create a space where women can connect with their emotions and find solace in the understanding that they are not alone in their feelings. It is like colours on a palette meant to be embraced, celebrated, and shared.”
Suddin Lappo is among the pioneering Ara Damansara artists alongside his collective, Dikalajingga, formed in 2000 and worked from a studio they shared together. “Beruk dapat Kerusi” is a satire about the parliamentary seat in the Malaysian political landscape, which depicts an ape sitting on a yellow chair similar to that of the Yang Di-Pertua Dewan Rakyat (The Speaker of the House of Representatives).
“The Monster” and “The Giant” are Syukur Rani’s rendition of his imaginative characters executed in a vibrant, illustrative manner. Deriving from his new “Pop” series that celebrates pop and subcultures in Malaysia, these colourful paintings represent street art style.
He reminisced: “This idea emphasises the memories of when I was a child often imagining about creatures such as aliens and monsters.”
Still-life
Filled with symbolic meanings, still-life paintings produced by Ara Damansara artists offer a renewed viewpoint on simple objects that become the focus of their subject matter. Artworks by Alice Tan, Alya Bieha, Atiqah Khairul Anuar, and Dinn Diran represent this genre.
Atiqah Khairul Anuar’s “Tetingkap Merah” features an array of receipts, bills, and polaroid pictures, among other scraps of images taped on a red window as the title suggests in trompe-l’œil technique.
“Iron Ranger” by Dinn Diran depicts the iconic American Red Wing work boots built initially for iron miners in the 1930s. Its characteristics of the toe cap, speed hooks, and Vibram®’s outsole make this legendary leather boot a classic.
Sculpture
Among the Ara Damansara artists who create sculptures as their mode of expression include Azizi Latif, Azrin Mohd, Haris Hamir, Hisyamuddin Abdullah, Nizam Abdullah and Nizam Rahmat and Syahmi Jamaludin.
Azizi Latif creates “sculpted canvas art” through his signature quilling technique. Titled “Irama Lautan 2 (Oceanic Rhythms 2)”, strips of canvas are arranged in a wavy and undulating pattern depicting the fluid and rhythmic motion of ocean waves to contemplate the ever-changing rhythms of life. The formation conveys a sense of movement, depth, and the endless existence cycle.
The primary colours on the canvas are a passionate blend of red and soft pink. These hues evoke a sense of warmth and emotion, inviting viewers to immerse themselves in the artwork’s depth to create a dynamic contrast against the canvas backdrop, drawing the viewer’s attention to the composition’s heart.
A delicate and intricate gold outline gracefully traces the contours of the quilled elements, adding a touch of luxury and refinement to the overall composition. This golden border not only defines the artwork but also serves as a testament to the artist’s attention to detail.
“Divided #3” by Azrin Mohd from 2017 is revisited in 2023 to mark the end of the Reformasi movement. Azrin Mohd uses powerful visual imagery to illustrate the withering spirit that leads to “reformati” — a derogatory wordplay on Pakatan Harapan’s famous slogan to suggest the agenda for reform is now dead.
A text that reads “Nation of Compromises” refers to the recent claims of political tampering in the corruption trial of a particular political figure who has been granted a discharge not amounting to acquittal.
Haris Hamir created a series of wall sculptures titled “Koleksi Panas #1-#6” after the famous collectable Hot Wheels. Reimagined and sculpted using paper, Haris Hamir’s selection of vehicles pays homage to the Malaysian context featuring “Van Jenazah” or a Muslim hearse, “Tanah Perayau Pertanahan”, which is a Land Rover Defender 90, “Kertas Terbang” or paper plane, “Kerja Lembughini Hurukan” after the Lamborghini Huracán, “Bas Sekolah” – a 14-seater Toyota Hiace in school bus yellow colour, and “Kooper Kecil”, which is a classic yellow Mini.
Hisyamuddin Abdullah’s “Caution! Elephant in the Room” conveys his perspective on the current state of Malaysian governmental affairs in which he expresses his concerns. He has cleverly defined the silhouette of a political leader adorning a songkok in black against a red background. Over it, a standing elephant in light blue signifies the metaphorical idiom highlighting a major problem or controversial issue that is present but is avoided as a subject for discussion. A transparent ballot paper is adhered to the cynical image.
Hisyamuddin Abdullah explained: “I see the management of an issue (case) involving the highest leadership of a political party is often a question about the transparency of the process, whether it has political interference or abuse of power, it still affects the people’s trust in politics. This mixed media work is a response to the issue, a layer of acrylic sheet on the surface of the subject gives an obscured narrative to the audience about who is the leader behind the ballot paper. This work serves as a warning sign that the selection of leaders should be examined clearly, to avoid hardships in the future.”
Nizam Rahmat’s multidisciplinary practice ranges from mixed media paintings using a collage and assemblage of found objects and images, stencil, screen print technique and drawing to installations. “Notable Cases” consists of recycled flight cases, flight case accessories, acrylic, polyurethane, graphite, and ink in variable sizes arranged in stacking order as a wall sculpture. He employs initialism to narrate the scandal involving 1Malaysia Development Berhad, such as JL (Jho Low), NR (Najib Razak), and RM (Rosmah Mansor).
According to Nizam Rahmat: “In sixty years since the formation of Malaysia, the nation has been burdened with many incidents, events, and episodes that result in repercussions and consequences years ahead. Some are still being shouldered and borne to this day and those whose effects will continue to be felt by future generations. These six boxes of various sizes demonstrate the burdens we will bear — and in turn our children, until the end of time.”
Syahmi Jamaludin creates mixed media works comprising acrylic paint, silkscreen, charcoal, acrylic glass, and wood frame mounted on canvas. Titled “Fragila”, he uses the concept of the window as the main idea, encouraging the audience to look out from the inside.
He explained that “the main subject is the wallpaper effect as a representation of the interior and the window frame represents the exterior. Flora and fauna motif adorns the wallpaper to symbolise the trappings in the natural world and false beauty. Encased within a framed window, a balloon twisting armament is symbolic for peace and gratitude that we need to value.”
SARENG presents Arif Fauzan Othman’s fourth solo exhibition, “Angkat-Sumpah”. The show features fifteen oil on canvas paintings depicting symbolic figures that convey social values represented by intellectual dichotomies and cultural beliefs. The subject matters were conceived from statuettes created by Arif Fauzan in 2020 during the COVID-19 lockdown, photographed, later composed, then painted on canvas in a theatrical landscape.
Known for his figurative and abstract-style painterly ability, Arif Fauzan emerges from a six-year interval since his last solo exhibition, “Blackzephyr” in 2017, with a new series of majestic and elegant renditions of sculptural figures to depict “the mystique of Nusantara mythology and the contrasting symbolism of glorified statues in Western culture”.
His latest body of work, “Angkat-Sumpah”, translates as “swear an oath”, but a play on semantics can also mean “glorified curse” or “lift the curse”. The idea of delving into “paradoxical dichotomy” provides an opportunity for Arif Fauzan “to examine the contrasting forces of good and evil, and the disorienting moral landscape that engulfs our modern society, where discerning right from wrong has become increasingly challenging”.
East and West
Arif Fauzan explained further: “Drawing inspiration from the ancient tales of the Nusantara, where individuals are transformed into stones and rocks as a consequence of their actions, I juxtapose this myth with the glorified statues prevalent in Western cultures. The Nusantara myth warns of the perils of straying from righteousness, reminding us of the importance of moral conduct and familial bonds. Similarly, the Western glorified statues encapsulate heroic figures and historical icons, celebrating their achievements and embodying the collective aspirations of a culture.”
Combining the ancient tales of Nusantara and the glorified statue of the West as exemplified through works like “Oh! Tuhan” and “Nilai Bebas”, Arif Fauzan meticulously illustrates the characteristics of clay – from which the figurines derived – its plasticity and malleability through creating various textures and surface details, such as delicate nuances in the facial features and creases of the clothing.
Arif Fauzan selects dark and light colours and contrasting tonal variations to enhance the dramatic effects and chiaroscuro luminosity by applying a monochromatic palette to create depth and intensity for each painting. The unique choice of reflective metal pigments elevates the sense of theatrics with its glistening and ethereal quality.
In “Oh! Tuhan”, a male figure is portrayed kneeling on the ground with his arms raised to the sky, pleading to the Almighty in desperation. A homage to the final scene of a Malay classical film titled “Batu Durhaka” (The Rock of Sin) (1962), the protagonist turned antagonist, Wira, seeks forgiveness from his deceased mother on her grave for the sins he had committed. When exclaiming his final words, “Oh! Tuhan”, Wira turned to stone.
The film narrates the story of Man’s seven deadly sins: pride, greed, wrath, envy, lust, gluttony, and sloth within the primitive Nusantara milieu in a period when men fought with keris and hand-to-hand combat for self-centred motives, and women suffered exploitation and maltreatment. Ironically, the maternal figure remains sacred to the lustful man. “The Nusantara myth portrays the petrified individuals as cursed, representing the consequence of moral transgressions”, Arif Fauzan aptly described.
In “Nilai Bebas”, a female figure emerges from the dark ocean and ascends towards the burning dark skies. The goddess Libertas of the Statue of Liberty (Liberty Enlightening the World) inspires the imagined deity. Stripped of her Roman robe, crown, torch and tabula ansata, Arif Fauzan’s reimagined Lady Liberty represents total freedom and glory. This portrayal raises an inquiry about the potential misunderstanding between liberty and libertinism. “The Western glorified statues present an elevated and revered state, symbolising the triumph of greatness and courage. However, the meaning behind these symbolisms can be oversimplified and misinterpreted in the opposite direction,” explained Arif Fauzan.
The romanticism of ancient Greek sculptures such as the Venus de Milo, created during the Hellenistic era, represents the idealised female form and is celebrated for its graceful and harmonious composition. This example of cultural symbolism is widely recognised as an iconic representation of feminine beauty, grace, and elegance, masterfully carved out of Parian marble to depict Aphrodite, the Greek goddess of love. For Arif Fauzan, the ancient Greeks and Romans created statues for symbolic reasons such as for religious and mythological significance; artistic expression in its highest form; commemoration of heroic figures; symbol of power and authority; propaganda and political ideologies; identity and civic pride; and education and inspiration of moral virtues.
Morality and wickedness are contradictory qualities that Arif Fauzan aims to explore. He stated: “Through my artwork, I aim to provoke contemplation and spark conversations that navigate the labyrinth of moral ambiguity. By juxtaposing the Nusantara myth and the Western glorified statues, I invite viewers to reexamine their values and beliefs, encouraging a renewed sense of moral introspection. This exploration serves as a catalyst for critical thinking, inviting individuals to question the foundations upon which they base their judgments and actions.”
“Berhala Kiri” and “Berhala Kanan” are representations of extreme ideologies and radicalised subsets of specific belief systems that exist in the world, past and present. According to Arif Fauzan: “In our contemporary society, where moral relativism prevails and the boundaries of right and wrong are increasingly blurred, this artistic exploration becomes even more relevant. It prompts viewers to reflect upon the intricate interplay between cultural context and moral frameworks, questioning the validity of absolute notions of good and evil nowadays.”
Cast in Time
Through this observation, history (and mythology) bears witness across the aeons to the pride of power or the wrath of Mother Nature. Archaeological evidence is abundant, from the Great Sphinx of Giza (2558–2532 BCE) to the ancient city of Persepolis (518 BCE), among others, spanning a period of over 2,000 years.
In an alternative perspective, exemplified in history, there is a moment when reversed narrative occurs: when an emperor in the East expresses his desire to protect and defend his rule in the afterlife, followed by a perishing of lives in the West due to a volcanic eruption.
An extraordinary example is the Terracotta Army, a collection of life-sized clay statues comprising thousands of individual figures, including soldiers, officers, horses, and chariots – buried alongside the first emperor of China, Qin Shi Huang, in the 3rd century BCE. Its sheer scale is astonishing, created as part of the emperor’s elaborate tomb complex that serves as a representation of the military might and power of the Qin Dynasty.
Whereas, in 79 CE, the ancient Roman city of Pompeii was buried under volcanic ash and debris during the catastrophic eruption of Mount Vesuvius. The explosion was so powerful that it completely overwhelmed the city, preserving it under layers of volcanic material. The ash and debris, consisting of fine-grained volcanic material called tephra, rapidly buried the town and its inhabitants. The process by which archaeologists preserved the bodies of Pompeii’s inhabitants is due to a natural phenomenon called “vitrification” or “petrification”. Archaeologists created plaster casts of the victims, providing a poignant and lifelike representation of the people who perished in the eruption. Folklore revolves around a supposed curse placed by a priestess of Pompeii, who cursed the city and its inhabitants for their immoral behaviour, resulting in the volcanic eruption as a divine punishment.
These historical examples are the antithesis of Arif Fauzan’s ideologies for “Angkat-Sumpah”. For Arif Fauzan, “Angkat-Sumpah” is a visual narrative encouraging discourse on ways “to cultivate empathy, compassion, and a deeper appreciation for the diverse perspectives that shape our world.” He opined: “In this artistic journey, I invite viewers to immerse themselves in the rich tapestry of myth and cultural symbolism, embracing the lessons of the Nusantara and Western cultures. Through this exploration, may we awaken a collective consciousness that transcends borders, fostering a more inclusive and compassionate global community.”
Sarah Abu Bakar
15 June 2023
Arif Fauzan Othman – Oh! Tuhan, 2023, Oil on canvas, 183cm x 122cmArif Fauzan Othman – Nilai Bebas, 2023, Oil on jute, 176cm x 176cmArif Fauzan Othman – Berhala Kiri, 2023, Oil on canvas, 92cm x 183cmArif Fauzan Othman – Berhala Kanan, 2023, Oil on canvas, 91.5cm x 183cmArif Fauzan Othman – Mimpi Dalam Mimpi, 2023, Oil on canvas, 183cm x 122cmArif Fauzan Othman – Arah, 2023, Oil on canvas, 183cm x 122cmArif Fauzan Othman – Pengapungan Terkawal, 2023, Oil on canvas, 183cm x 122cmArif Fauzan Othman – Persalinan Baru Maharaja, 2023, Oil on canvas, 183cm x 122cm
Batu by Fauzulyusri offers a fresh perspective into Fauzulyusri’s artistic oeuvre, which has spanned over two decades. This exhibition marks his 14th solo and 10th one-person show at TAKSU – a momentous occasion to celebrate an artist of this calibre.
Fauzulyusri has embedded his unique painting style into the intrigued eyes, hearts, and minds of many viewers, including myself. I encountered his sophisticated work, From Minor to Major, in a group show in Kuala Lumpur in 2007, where I started as a young gallery assistant.
Still etched in my mind is how playful, tactile, witty, fun, and abstract his artworks are. These characteristics of Fauzulyusri’s visual expressions emphasise technique, composition, material, form, colour, texture, and subject matter as we understand them. Art enthusiasts and purist followers will be curious about how Fauzulyusri arrived here.
Rock formation
In Batu, Fauzulyusri departs from naivety, textual, graphical and, above all, abstraction to explore the centuries-old still-life genre. Enshrined within the frame’s borders lies an inanimate object, complex solid mineral matter in the form of majestic rocks and all its splendour.
Multicoloured rocks illuminating from within, especially its gestural cracks and crevices, is, in fact, a recurring theme. These designs and textural effects make frequent appearances in Fauzulyusri’s progression – appearing now and then in series as early as Neolithic (2006); Coreng (2013); to most recently, Konkrit (2021); all shown at TAKSU.
Here, the rock is thoughtfully placed at the lower section of the composition to illustrate weight. Demarcated by clean lines with a minimalist and neutral background colour palette, as seen in Tona (2020), which portrays gravity and intricate details to the subject matter – Batu is an ode to Fauzulyusri’s journey thus far.
The commission
The shift from naïve abstract to still-life painting has evolved since a commissioned project for a hospitality establishment across the Causeway in 2017. Fauzulyusri said: “In 2015, I received an invitation to submit a proposal of artwork for a new hotel in Singapore called Andaz. The process took two years, and I produced two paintings and a sculpture for Andaz.”
One of the artworks is a 1m by 5m abstract painting currently adorning the walls of Smoke and Pepper, an eatery joint located at Alley on 25, a dedicated culinary hub in one of the DUO Towers in Kampong Glam. The restaurant is part of Andaz – a luxury boutique hotel by Hyatt in Singapore.
“The inspiration for the artworks I created for Andaz is derived from the island of Singapore. The painting depicts an aerial view of the island with several small isles dotted outside to represent Singapore attracting global visitors,” explained Fauzulyusri.
Later, he observes the composition with an amplified lens, zooming into the spherical outline and the roughness of texture only to realise that the outcome has always been there. Thus, the conception of Batu ensues.
After Andaz
In this series, two of the most extensive works: Kontra 1 and Kontra 2, feature giant rocks against a tree bark textured background. The dramatic black backdrop emanates a sense of mystery and, at the same time, illuminates the rock structure and gritty texture. The concept of being close to nature is apparent here.
“My focus for Batu is form. The rock is not flat; hence my main concern is applying various techniques to achieve the right shadow, lighting, and textural effect,” explained Fauzulyusri.
The change in style contributes to the way he works too. Various processes demonstrate the intricacy of his artistry, from the selection of canvas material to the mixed media ingredients specially concocted and the technique applied to achieve the desired results.
“In the past, the key to creating naïve style paintings is to activate my subconscious mind. My approach now is reversed where pre-planning is necessary, and working consciously in a technically controlled and methodological manner,” said Fauzulyusri.
The formula
For Fauzulyusri, Batu is an attempt to re-imagine still-life paintings and to give prominence to a single object. Unlike the traditional sense of western Old Master still-life that illustrates a bowl of fruit, a flower vase, or a banquet table, Fauzulyusri’s version boasts technical flair: a strong “DNA” or the “Fauzulyusri’s formula” that is distinctively unique.
“I am very much interested in texture from the beginning of my artistic career. ‘Batu’ is my first still-life series. It is clean, minimal, orderly, and arranged aesthetically,” described Fauzulyusri.
The sophistication of coarse lines, thin cracks, and a luminous colour palette demands attention. In “Gelita”, the shimmering moss-green rock is enlarged to the proportions of the canvas to establish visual impact.
“To obtain the right textural effect and colour in each form, I have experimented with many materials such as textured paste, fine sand, and gouache paint. It is a lengthy process to combine the right elements onto canvas, which is why great care and planning took place,” said Fauzulyusri.
His formalistic approach to artmaking stems from the tutorship of retired university lecturers and celebrated artists, Associate Professor Yusof Ghani and Associate Professor Awang Damit Ahmad.
Cycle of life
A single rock is a significant material that influences humanity in all aspects of life: tradition, culture, way of life and faith.
The Stone Age, which lasted roughly 2.5 million years, marks a period of prehistory in which humans used primitive stone tools. It began about 2.6 million years ago when researchers found the earliest evidence of humans using stone tools[i].
Prehistoric monuments are testament to the magnificence of the ancient world. These landmarks are Moai Statues Easter Island, Chile; Chichen Itza, Mexico; Tikal, Guatemala; Acropolis of Athens, Greece; Giza Pyramids, Egypt; Ancient Petra, Jordan; Umayyad Mosque, Syria; Al-Aqsa Mosque, Jerusalem and Stonehenge, England.
Closer to home, the Borobudur in central Java is the world’s largest Buddhist temple, and Angkor Wat in Cambodia is the largest religious structure listed as UNESCO World Heritage Site. At the same time, the Terengganu Inscription Stone (Batu Bersurat Terengganu) in Malaysia constituted the earliest evidence of Jawi writing in the Malay world of Southeast Asia, dated possibly 1303 CE.
In Malay folklore, a film titled “Batu Belah Batu Bertangkup” (The Devouring Rock) dated 1959 tells the fantastical tale of Mak Minah surrendering herself to a human-devouring rock after being bitterly irritated by her children’s ingratitude towards her.
The narrative of Fauzulyusri’s Batu is told through the poetic journey of his visual expressions. His still-life rendition of the rock could be the beginning of something exciting.
“Batu gives me the satisfaction of creating something new. I find joy in the entire process, adapting to a new way of working and feeling enthusiastic about the outcome,” said Fauzulyusri blissfully.
[i] Stone Age – History. www.history.com/topics/pre-history/stone-age
TAKSU Gallery shot of Fauzulyusri’s “Perang II”, 2023, Mixed media on canvas, 61cm x 122cmFauzul Yusri – Ruby II, 2023, Mixed media on canvas, 61cm x 91cmFauzul Yusri – Batu 27, 2023, Mixed media on canvas, 61cm x 61cmFauzul Yusri – Setara, 2023, Mixed media on canvas, 122cm x 183cmFauzul Yusri – Kontra, 2023, Mixed media on jute, 174cm x 220cmFauzul Yusri – Bongkah I, 2023, Mixed media on canvas, 183cm x 122cmFauzul Yusri – Gelita, 2023, Mixed media on canvas, 180cm x 180cmFauzul Yusri – Bongkah II, 2023, Mixed media on canvas, 183cm x 122cmFauzul Yusri – Kontra II, 2023, Mixed media on jute, 120cm x 170cmFauzul Yusri – Ruby I, 2023, Mixed media on canvas, 61cm x 91cm
